By Ruth Towse
What determines the fee drop of a pop live performance or an opera? Why does Hollywood dominate the movie undefined? Does unlawful downloading harm the checklist undefined? Does loose access to museums deliver extra viewers? In A Textbook of Cultural Economics, one of many world's major cultural economists indicates how we will be able to use the theories and strategies of economics to reply to those and a number of different questions about the arts (performing arts, visible arts, and literature), history (museums and equipped history) and artistic industries (the tune, publishing, and movie industries, broadcasting). utilizing foreign examples and masking the main updated study, the publication doesn't think a previous wisdom of economics. it really is perfect for college students taking a path at the economics of arts as a part of an arts management, company, administration, or economics measure.
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Extra info for A Textbook of Cultural Economics
1988) "Assessing Cost-Benefit Analysis: Reflections on Rural Water Supply Evaluation in Haiti", Journal of Policy Analysis and Management, 7(2), pp. 246-263. Oberhofer, T. (1989) "The Changing Cultural Discount Rate", Review of Social Economy, 47(1), pp. 43-55. Singer, L. P. (1988) "Phenomenology and Economics of Art Markets: An Art Historical Perspective", Journal of Cultural Economics, 12(1),27-40. Throsby, C. D. and Withers, G. A. (1979) The Economics' of the Performing Arts, Edward Arnold, London.
A. (1979) The Economics' of the Performing Arts, Edward Arnold, London. E. (1977) "Endogenous Changes in Tastes: a Philosophical Discussion", Erkenntnis, 11, pp. 157-196. 4. The Rationale for Public Funding of a National Museum Christopher T. Duffy Trinity College, Dublin The rationale for public funding of museums has not attracted much attention, either from economists or the general public. In popular debates on the public funding of museums, attention is invariably fixed on other aspects of government funding.
Be summarily rejected by conventional tastes as determined by individualised, subjective values. This is inevitable. However, when the principal arbiters of arts quality are entrenched bureaucrats they will tend to protect a status quo, not least in order to safeguard their collective power and prestige or the reputation of the chief of their bureaux (Niskanen, 1973). Another source of conservatism arises from the fact that bureaucrats work according to a set of rules to secure recognition and promotion within the system.