By David Throsby
"Cultural coverage is altering. regularly, cultural rules were thinking about offering monetary help for the humanities, for cultural historical past and for associations reminiscent of museums and galleries. lately, worldwide, curiosity has grown within the artistic industries as a resource of innovation and fiscal dynamism. This ebook argues that an figuring out of the character of either the industrial and the cultural price created via the cultural area is key to strong policy-making. The e-book is the 1st complete account of the appliance of monetary concept and research to the extensive box of cultural coverage. It bargains with common ideas of policy-making within the cultural enviornment as visible from an financial perspective, and is going directly to study a number of particular cultural coverage parts, together with the humanities, background, the cultural industries, city improvement, tourism, schooling, alternate, cultural variety, monetary improvement, highbrow estate and cultural statistics"--Provided by means of writer. Read more...
1. creation --
2. The scope of cultural coverage --
3. The coverage procedure --
4. Arts coverage --
5. Cultural industries --
6. Cultural historical past --
7. tradition in city and nearby improvement --
8. Tourism --
9. tradition within the overseas financial system --
10. Cultural range --
11. Arts schooling --
12. tradition in monetary improvement --
13. highbrow estate --
14. Cultural data --
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Additional info for The economics of cultural policy
Thus our discussion of the cultural policy process in the present chapter begins with a consideration of how culture fits into the economic policy objectives of governments. But despite its dominance, economics is not the only game in town, and governments clearly acknowledge that they have a responsibility for the social and cultural well-being of society that extends beyond purely financial concerns. Most political leaders, if set the task of articulating a mission statement for the government they represent, would almost certainly include within it a grandiloquent reference to the importance of culture in the life of the nation, and would recognise a collective responsibility to pay attention to this area.
A model of the cultural industries that is based on this value distinction is the so-called ‘concentric circles model’,11 which asserts that it is the cultural value, or cultural content, of the goods and services produced that gives the cultural industries their most distinguishing characteristic. Different goods have different degrees of cultural content relative to their commercial value; the model proposes that the more pronounced the cultural content of a particular good or service, the stronger is the claim of the industry producing it to be counted as a cultural industry.
4 Connor (1992: 8). 5 This duality between economic value and cultural value is the unifying theme for a collection of essays on value in economics, culture and art by a multidisciplinary group involving economists, art histor ians, anthropologists and cultural theorists; see Hutter and Throsby (2008). 6 In fact the benefit they receive may be worth more than the price paid, if the amount they were prepared to pay for the book or the ticket exceeded the market price; this excess is known as consumer’s surplus, and strictly speaking should be evaluated in any study of the economic value of a particular private good or service.