Economy

A Textbook of Cultural Economics by Ruth Towse

By Ruth Towse

What determines the cost drop of a pop live performance or an opera? Why does Hollywood dominate the movie undefined? Does unlawful downloading harm the list undefined? Does loose access to museums convey extra viewers? In A Textbook of Cultural Economics, one of many world's top cultural economists exhibits how we will be able to use the theories and techniques of economics to respond to those and a number of alternative questions about the arts (performing arts, visible arts, and literature), history (museums and outfitted background) and inventive industries (the song, publishing, and movie industries, broadcasting). utilizing overseas examples and protecting the main updated study, the e-book doesn't imagine a previous wisdom of economics. it truly is splendid for college kids taking a direction at the economics of arts as a part of an arts management, company, administration, or economics measure.

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These differences make it difficult to generalise about how the arts and culture are financed and organised, but it also means that there is a rich source of experience that can be compared and evaluated, and international comparison is one of the ways in which cultural economists have studied the cultural sector. Public and private goods True public goods have a combination of two necessary conditions: ‘nonrivalry’ and ‘non-excludability’; private goods are ones that are used up in 28 General issues in cultural economics consumption (rival) and where the owner (or buyer) can capture all the benefits by excluding others.

Chapter 4 is on the economic organisation of the creative industries. Chapter 5 deals with the production and supply of creative goods and services, and chapter 6 similarly deals with the consumption, participation and demand aspects. Chapter 7 looks at the way cultural economics analyses policy using welfare economics. These chapters therefore lay the foundation for analysing and understanding the creative industries studied in subsequent chapters. 1 Introduction to cultural economics This chapter introduces cultural economics and explains how cultural economists set about analysing the cultural sector – the arts (performing arts, visual arts and literature), heritage (museums and built heritage) and the creative industries (the music, publishing and film industries, broadcasting, and so on).

Because of these features, public goods are mostly produced collectively, often by the government but also by non-profit organisations. Some properties of the arts and culture are true public goods in the economic sense, such as shared history, cultural heritage and language, but far and away the majority of goods and services in the cultural sector are not public goods; they are rival (the more for you, the less for me) and access to them can be limited to those who have paid an entry charge or subscription (they are excludable).

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