Production Of Cultural Goods Research Articles

Nas coxias da ciência: a peça “Gutenberg - drama histórico em 5 atos e em prosa” de Juliette Figuier: práticas de vulgarização científica e invisibilização feminina no século xix

Abstract: The aim of this article is to look at, through the case of Juliette Figuier, the often invisible role of intellectual women in the dissemination of scientific culture in France and Brazil. It focuses on her play Gutenberg (1869) which was translated into Portuguese in 1877 and circulated in Brazil. The play, which deals with the mythical life of the inventor of the printing press, is included in the list of narratives about science produced by popularizers of science - such as her husband, Louis Figuier. Often mistaken as a work of the latter, Gutenberg was originally written by Juliette Figuier. The article seeks to discuss through this case how women could participate in the production of cultural goods which projected the image of Science in a mediating role.

Corporate Responsibility for Arts and Culture

Multinational companies (MNCs) in the creative and IT sectors play a decisive role in the production of cultural goods and in global cultural trends. Therefore, MNCs impinge on the right to take part in cultural life and must be held accountable for their impact on arts and culture on a global scale. As a dynamic and evolving process, open to alien influences, cultural life can be seen as a global social process, and as such is susceptible to structural injustices. I. M. Young’s social connection model is suggested to attribute a shared forward-looking responsibility to multinational companies and thus to assess corporate impacts on the quality of cultural life. The article highlights specific responsibilities for companies and proposes guidelines for judging their performance regarding arts and culture as a public good.

Technical Efficiency of cultural goods and services: An analysis of the Mexi-can Case

The study of cultural economics is becoming more and more important in the world, and it has a number of different aspects to be analyzed. It is an emerging activity in Mexico, though; in spite of the fact that the information about cultural economic indicators has been available since 2008. The lack of research about this topic in Mexico, from the perspective of economic scieneces, begs the question of how the usage of factors is taking place, and whether they are being used in an optimal way or, in other words, with efficiency. For that reason, the aim of this research is to obtain an indicator of technical efficiency for the components of cultural goods and services in Mexico, which allows us to contribute to the understanding of these activities from an economic perspective. To that end, it was used the methodology of Stochastic Frontier Analysis through an econometric application of panel data. Among the main findings, it was noticed that the cultural goods and services are highly efficient in an aggregated manner, since an indicator close to 100% was obtained. In a disaggregated manner, the components of cultural services are more efficient than those of cultural goods. Additionally, in a disaggregated manner, the efficiency average is 67%, so it is still possible to improve the usage of productive factors in a 33%, through an economic policy so as to improve the qualification, as well as the use of novel techniques in the production of cultural goods and services, which would have results favoring the enhancement to the technical efficiency of cultural goods and services in this country.

Music Genres and Identity in Markets: The Role of Categories in Market Identities and Outcomes

The papers in this symposium attempt to investigate the various ways artists interact with cultural categories in the production of music. The production of cultural goods is distinct from the production of typical (i.e non-cultural) goods in that there is no standard for what is demanded and considered high quality. For producers, knowing what to produce and how to produce it can pose a conundrum. The challenge is alleviated in part because of the existence of cultural categories, which while socially constructed, structure the attention (and preferences) of consumers and thereby guide producer decisions. Because of the role categories play in ordering markets, category membership potentially has a major influence on a cultural producers' identity. The way producers interact with categories is a critical factor for success in cultural markets. Outcomes studied in this symposium include: artist performance, creativity, and entrepreneurial entry.

Séries de animação, indústria criativa e consumo de bens culturais

Este artigo é um breve estudo do processo de produção de bens culturais nas Indústrias Criativas a partir da análise da produção de séries de animação e da identificação do público espectador com a série, a qual acaba sendo determinante para o consumo de produtos relacionados a esta, mostrando o quanto o público é decisor do sucesso de uma série e afastando os estudos no campo da indústria criativa da análise crítica e pessimista que fora proposta pela Escola de Frankfurt, mostrando assim, a importância da produção de bens culturais para o desenvolvimento social e econômico do país.Cartoon series, creative industry and consumption of cultural goodsAbstractThis article is a brief study of cultural goods production process in the Creative Industries from the analysis of the cartoon series production and identification of the viewing public with the series, which ends up being decisive for the consumer products related to this, showing how the audience is decision-maker of the success of series and away the studies in the field of Creative Industry from critical and pessimistic analysis that was proposed by the Frankfurt School, showing the importance of the production of cultural goods for social and economic development of Brazil.

The future of digital archive collections: Augmenting public service media geo-locative archives

During 2011, the now defunct ABC Pool (abc.net.au/pool) project developed an experiment that sought to combine emerging augmented reality (AR) technology with the archival collection of the Australian Broadcasting Corporation (ABC). The MyBurb project attempted to alter experiences of Australian suburbs by augmenting ABC archives in contemporary suburban environments to explore the blur between physical and digital spaces with its citizens. Mobile media, specifically geo-locative AR applications such as Layar are “one of the most widely used mobile AR applications” (Liao & Humphreys, 2014, p. 2) and challenge the sociological implications of hybrid spaces as “[m]obile interfaces … allow users to be constantly connected to the Internet while walking through urban spaces” (de Souza e Silva, 2006, p. 261). The project was successfully implemented, but was rarely utilized by the audience it sought to engage, revealing a division between aspects of the ABC’s remit and engaging its audience through mobile technology and environmental hybridity. This observation supports the cultural production gap Hesmondhalgh (2007) identified between the production and consumption of cultural goods, which I argue could be facilitated through technological intermediation as part of the broader concept of cultural intermediation (Hutchinson, 2013; Maguire & Matthews, 2010; Negus, 2002). How then could cultural intermediation facilitate the collaborative production of cultural goods to include the affordances of geo-locative media while avoiding the disconnection between the MyBurb project and its stakeholders? The data presented within this paper represents 3 years of research at ABC Pool where I was embedded as the community manager/researcher in residence.

Bringing Culture to Macroeconomics

A two-sector dynamic general equilibrium model is constructed to examine the interaction between the cultural and noncultural sectors of the economy. It stresses three aspects of cultural economics that have been much discussed in the literature: (i) the productivity lag in the production of cultural goods, described by Baumol and Bowen (1996); (ii) the role of cultural capital in production; and (iii) the treatment of cultural goods as an acquired taste along the lines of Becker’s notion of positive rational addiction. The results suggest that the more significant the role played by cultural capital in the economy, the greater will be the growth rates of output in both sectors of the economy. The model is suggestive of future research into the importance of the macroeconomy on the cultural sector, and the potential importance of the cultural sector on the macroeconomy.

A emergência da geografia econômica das indústrias culturais / The emergence of the economic geography of cultural industries

The paper is about the emergence of a new field of study for economic geography, economic geography of the cultural industries, which since the 90s of last century has been growing in importance in the United States and Europe, although it does not have a lot of tradition in Brazil. Therefore, the main objective of this paper is to discuss the emergence of this new field of study to demonstrate the relevance of geographic analysis for the development of the cultural economics activities. The argument is focused on the discussion of the interdependence between the production of cultural goods and services and the space, especially of the metropolis, where economies of agglomeration favor the concentration of firms and workers of these productive activities.

Basketball and Cultural Representations in the Media: An Analysis of the French Sport Magazine Maxi Basket

At the end of the 1980s, representations of French basketball underwent radical changes. Basketball games lost their small-town atmosphere and became theater: grandiose shows, dramatized by the media, which became a part of French public life. The aim of this study was to evaluate the influence of American “basketball culture” on the representations of young French readers by analyzing the front covers of Maxi Basket, the magazine that has dominated the basketball press since it first appeared on newsstands in September 1982. The magazine clearly illustrates the movement of the French game of basketball toward theatricalization, commercialization, television coverage, and globalization, similar to the American game. The arrival of American basketball in France and its subsequent integration, a strong marker of the “Americamania” of the ’80s, was a symptom of the dialectical link that connected the manufacture of material goods with the production of cultural goods.

Global Media Cities in a World-wide Urban Network

This article examines the link between cities and culture from the point of view of the production of cultural goods, including media products. It focuses on the institutional structure of present-day cultural production and the media industry and on their geographical organization at the local and global levels. The cultural economy is a prime mover for globalization processes in the urban system, in which cultural production clusters act as local nodes in the global networks of the large media groups. The models frequently used to analyse the global city system will be supplemented and partially modified by an empirical analysis of the 'world media cities'. The analysis of the world media cities enables those locations to be identified, from which globalization in the spheres of culture and the media proceeds and is 'produced' in practical terms. Global city research has predominantly emphasized the role of advanced producer services—in contrast this article concludes that for the process of globalization the globally operating media firms are at least as influential as the global providers of corporate services, because they create a cultural market space of global dimensions, on the basis of which the specialized global service providers can ensure the practical management of global production and market networks.

From the 30s to the 60s: The folk music revival in the United States

From the 30s to the 60s: The folk music revival in the United States

Entrelugares. Un acercamiento a los blogs de escritores como nuevos espacios del campo literario argentino

A partir del interés que suscitan actualmente las relaciones entre la literatura y los formatos de publicación Web, este artículo intenta ofrecer algunas reflexiones teóricas que permitan esclarecer modos de abordar la irrupción del formato Blog en el campo literario argentino, y específicamente la apropiación del formato Blog por parte de escritores consagrados o en vías de consagración que ya ostentan una obra publicada en papel. Las reflexiones se estructuran, entonces, a partir de dos formas de aproximación teórica sobre esta situación que intenta vestirse de “nuevo fenómeno”. Una de ellas pone especial énfasis en el desarrollo tecnológico-comunicacional y en sus implicancias en el dominio cultural, partiendo desde el concepto de industria cultural para analizar el protagonismo del mercado y su influencia en la producción de bienes culturales. La otra aproximación no es ajena a lo anterior pero se encuentra enfocada en la sociología del arte y la literatura, y se constituye como un complemento necesario porque pone su acento en la entidad fundamental para comprender los procesos y las prácticas literarias, precedentes y actuales: el campo literario mismo y sus movimientos internos.