Table of Contents
Week 1
Modelling the Cultural Industries (Throsby, 2008)......................................................................................2
Surviving in Times of Turmoil: Adaptation of the Theatre Les Deux Mondes Business Model (Poisson-de
Haro & Montpetit, 2012)............................................................................................................................6
Creative Industries in the Age of Digitalization and Globalization (Khaire, 2017)......................................9
Week 2
Balancing Act: Learning from organizing practices in cultural industries (Lampbel, Lant & Shamsie,
2000).........................................................................................................................................................12
Beyond Networks and Hierarchies: Latent Organizations in the U.K. Television Industry (Starkey, Barnatt
& Tempest, 2000)......................................................................................................................................14
Capabilities in Motion: New Organizational Forms and the Reshaping of the Hollywood Movie Industry
(Lampel & Shamsie, 2003)........................................................................................................................17
Networks and Social Capital in the UK Television Industry: The Weakness of Weak Ties (Antcliff, Sundry
& Stuart (2007).........................................................................................................................................19
Week 3
Strategic Orientation and Firm Performance in an Artistic Environment (Voss & Voss, 2000).................21
Robust Identities or Nonentities? Typecasting in the Feature Film Labor Market (Zuckerman et al.,
2003).........................................................................................................................................................23
Understanding the Bond of Identification: An Investigation of Its Correlates among Art Museum
Members (Bhattacharya, Rao & Glynn, 1995)..........................................................................................25
Third-Party Signals and Sales to Expert-Agent Buyers: Quality Indicators in the Contemporary Visual Arts
Market (Kackovic et al., 2020)..................................................................................................................28
Week 5
Should You Invest in the Long Tail? (Elberse, 2008)..................................................................................31
Web-Based Experiments for the Study of Collective Social Dynamics in Cultural Markets (Salganik &
Watts, 2009).............................................................................................................................................35
Kingdom or Fandom? YouTube and the Changing Role of Gatekeeping in Digital Cultural Markets (Malik
et al., 2024)...............................................................................................................................................38
Week 6
Why Some Awards Are More Effective Signals of Quality Than Others: A Study of Movie Awards
(Gemser, Leenders & Wijnberg, 2008)......................................................................................................40
Coping With Uncertainty, Abundance, and Strife: Decision-Making Processes of Dutch Acquisition
Editors in the Global Market for Translations (Franssen & Kuipers, 2013)...............................................43
Gatekeeper Search and Selection Strategies: Relational and Network Governance in a Cultural Market
(Foster, Borgatti & Jones, 2011)................................................................................................................47
Week 7
Makeover on the Move: Global Television and Programme Formats (Moran, 2008)...............................50
Global Parents, Local Partners, A Value Chain Analysis of Collaborative Strategies of Media Firms in
India (Pathania-Jain, 2001).......................................................................................................................53
Banal Cosmopolitanism and The Lord of the Rings: The Limited Role of National Differences in Global
Media Consumption (Kuipers & de Kloet, 2009)......................................................................................56
The Fate of Culture (Cowen, 2002)...........................................................................................................58
,Week 1, Article 1: Modelling the Cultural Industries
(Throsby, 2008)
This paper discusses the 6 models for analysing cultural industries, identifies common core industries,
and explores the economic implications of these models for cultural policy.
Scope of the Cultural Industries
The term 'cultural industries’ and
‘creative industries varies across
countries and organizations (eg.
UNESCO vs. UK government).
● Cultural industries came first,
and references to creative
industries came later
● Cultural goods is a subset of
creative goods, which also
include commercial creative
sectors (eg. advertising,
software, web and graphic
design)
● Their distinction is important
because they have different:
○ (1) Estimations of contribution
○ (2) Policy implication
○ (3) Economic analyses
Cultural industries: industries that combine the creation, production, and commercialisation of
contents which are intangible and are cultural in nature.
● UNESCO defines them as goods OR services creating and commercializing intangible and
culturally significant content and are often protected by copyright.
Characteristics of cultural goods/services
1. Require input of human activities
a. Original and novel ideas
2. They act as symbolic messages to consumers
a. They are more than utilitarian and serve a larger purpose
3. They contain intellectual property
a. Attribute to the individuals or group producing the good
4. Have a cultural value in addition to their commercial value and transcend economic valuation
Creative industries: industries that originate in individual creativity, skills, and talent. They have the
potential to generate wealth and create jobs through generation and exploitation of intellectual
property.
, Characteristics of creative goods/services
1. There has to be human input of creativity
2. They can be a good or service
3. Used in commercial applications
4. They are not always cultural and extend beyond cultural goods and economic valuation
Models of Cultural Industries
6 models classify and interpret cultural industries differently:
(1) UK-DCMS Model It defines creative industries as those involving creativity, skill, and talent, with
potential for wealth and job creation through intellectual property exploitation.
The industries included can be seen as cultural, but the UK government prefers to
define them as creative.
(2) Symbolic Texts It explains how culture is created through media by producing, distributing, and
Model consuming symbolic messages. It focuses on industries like film, broadcasting, and
the press, which shape cultural expression.
This model also distinguishes between high culture (such as fine arts) and popular
culture, emphasizing how power dynamics related to social class, gender, and
race/ethnicity influence cultural production. In this model, popular culture takes
center stage, while high arts are placed on the periphery.
(3) Concentric Circles It organizes cultural industries based on their cultural value. At the core are the
Model creative arts (music, literature, and visual arts), where original ideas begin. These
ideas spread outward through layers of industries (called concentric circles), with
each layer having less cultural and more commercial content. The further from the
center, the more the focus shifts from artistic expression to market-driven
production.
(4) WIPO Copyright It focuses on industries that create, produce, manufacture, distribute, and broadcast
Model copyrighted works.
It emphasizes intellectual property as the key factor defining cultural industries.
It divides industries into three groups: core copyright industries (which produce
creative content), supporting industries (which distribute and deliver content), and
partial copyright industries (where intellectual property plays a smaller role).
(5) UNESCO Institute It classifies cultural industries into five core domains:
for Statistics (UIS) (1) heritage, (2) performance, (3) visual arts, (4) books and press, and (5) audiovisual
Model media.
It also extends to ‘related domains’ like tourism, sports, and leisure.
, (6) Americans for the It identifies arts-centric businesses involved in producing and distributing art.
Arts Model
Designed for advocacy, it highlights the economic impact of the arts, especially in
regional and local economies, to support arts funding and policy.
→ These models all embody different sets of industries that make up the cultural production sector of
the economy, and lead to different estimates of economic impact and policy focus.
→ Symbolic texts, concentric circles, and WIPO models have similar industries.
Is it possible to find a common group of industries on which all of these models agree?
To address this we need to understand why and how cultural products are valued by different
stakeholders (eg. experts, other producers, consumers)
Economic Analysis of the Cultural Industries
These are 6 different approaches to analyze cultural industries:
(1) Industrial It measures the standard economic variables for which data are always collected for
Organization Theory all industries (eg. gross value of production, value added, levels of employment, etc.)
Economic variables It also looks at organizational characteristics of markets
and organizational 1. Market concentration
characteristics 2. Barriers to entry and exit
3. Degree of competition
4. Product differentiation
It is relevant to cultural industry models oriented towards the commercial production
of cultural goods (WIPO model) but also for not-for-profit arts in certain conditions
like non-price competition
(2) Value Chain How cultural products move from creation to consumption through stages:
Analysis (1) creation, (2) production, (3) dissemination, (4) exhibition/reception,
(5)consumption/participation, (6) archiving/preserving, (7) education/training
Production chain
Used by firms to analyze performance in different stages of the production cycle
This model is dynamic or multi-stage and is relevant to all models
(3) Inter-Industry It is used to evaluate the economic impact of cultural policy
Analysis
Input-output analysis: output from one industrial sector as input to another sector
Economic impact of (spillovers)
cultural policy Social accounting matrices (SAMs): similar tool requiring less data for analysing the
impact of industries.
Week 1
Modelling the Cultural Industries (Throsby, 2008)......................................................................................2
Surviving in Times of Turmoil: Adaptation of the Theatre Les Deux Mondes Business Model (Poisson-de
Haro & Montpetit, 2012)............................................................................................................................6
Creative Industries in the Age of Digitalization and Globalization (Khaire, 2017)......................................9
Week 2
Balancing Act: Learning from organizing practices in cultural industries (Lampbel, Lant & Shamsie,
2000).........................................................................................................................................................12
Beyond Networks and Hierarchies: Latent Organizations in the U.K. Television Industry (Starkey, Barnatt
& Tempest, 2000)......................................................................................................................................14
Capabilities in Motion: New Organizational Forms and the Reshaping of the Hollywood Movie Industry
(Lampel & Shamsie, 2003)........................................................................................................................17
Networks and Social Capital in the UK Television Industry: The Weakness of Weak Ties (Antcliff, Sundry
& Stuart (2007).........................................................................................................................................19
Week 3
Strategic Orientation and Firm Performance in an Artistic Environment (Voss & Voss, 2000).................21
Robust Identities or Nonentities? Typecasting in the Feature Film Labor Market (Zuckerman et al.,
2003).........................................................................................................................................................23
Understanding the Bond of Identification: An Investigation of Its Correlates among Art Museum
Members (Bhattacharya, Rao & Glynn, 1995)..........................................................................................25
Third-Party Signals and Sales to Expert-Agent Buyers: Quality Indicators in the Contemporary Visual Arts
Market (Kackovic et al., 2020)..................................................................................................................28
Week 5
Should You Invest in the Long Tail? (Elberse, 2008)..................................................................................31
Web-Based Experiments for the Study of Collective Social Dynamics in Cultural Markets (Salganik &
Watts, 2009).............................................................................................................................................35
Kingdom or Fandom? YouTube and the Changing Role of Gatekeeping in Digital Cultural Markets (Malik
et al., 2024)...............................................................................................................................................38
Week 6
Why Some Awards Are More Effective Signals of Quality Than Others: A Study of Movie Awards
(Gemser, Leenders & Wijnberg, 2008)......................................................................................................40
Coping With Uncertainty, Abundance, and Strife: Decision-Making Processes of Dutch Acquisition
Editors in the Global Market for Translations (Franssen & Kuipers, 2013)...............................................43
Gatekeeper Search and Selection Strategies: Relational and Network Governance in a Cultural Market
(Foster, Borgatti & Jones, 2011)................................................................................................................47
Week 7
Makeover on the Move: Global Television and Programme Formats (Moran, 2008)...............................50
Global Parents, Local Partners, A Value Chain Analysis of Collaborative Strategies of Media Firms in
India (Pathania-Jain, 2001).......................................................................................................................53
Banal Cosmopolitanism and The Lord of the Rings: The Limited Role of National Differences in Global
Media Consumption (Kuipers & de Kloet, 2009)......................................................................................56
The Fate of Culture (Cowen, 2002)...........................................................................................................58
,Week 1, Article 1: Modelling the Cultural Industries
(Throsby, 2008)
This paper discusses the 6 models for analysing cultural industries, identifies common core industries,
and explores the economic implications of these models for cultural policy.
Scope of the Cultural Industries
The term 'cultural industries’ and
‘creative industries varies across
countries and organizations (eg.
UNESCO vs. UK government).
● Cultural industries came first,
and references to creative
industries came later
● Cultural goods is a subset of
creative goods, which also
include commercial creative
sectors (eg. advertising,
software, web and graphic
design)
● Their distinction is important
because they have different:
○ (1) Estimations of contribution
○ (2) Policy implication
○ (3) Economic analyses
Cultural industries: industries that combine the creation, production, and commercialisation of
contents which are intangible and are cultural in nature.
● UNESCO defines them as goods OR services creating and commercializing intangible and
culturally significant content and are often protected by copyright.
Characteristics of cultural goods/services
1. Require input of human activities
a. Original and novel ideas
2. They act as symbolic messages to consumers
a. They are more than utilitarian and serve a larger purpose
3. They contain intellectual property
a. Attribute to the individuals or group producing the good
4. Have a cultural value in addition to their commercial value and transcend economic valuation
Creative industries: industries that originate in individual creativity, skills, and talent. They have the
potential to generate wealth and create jobs through generation and exploitation of intellectual
property.
, Characteristics of creative goods/services
1. There has to be human input of creativity
2. They can be a good or service
3. Used in commercial applications
4. They are not always cultural and extend beyond cultural goods and economic valuation
Models of Cultural Industries
6 models classify and interpret cultural industries differently:
(1) UK-DCMS Model It defines creative industries as those involving creativity, skill, and talent, with
potential for wealth and job creation through intellectual property exploitation.
The industries included can be seen as cultural, but the UK government prefers to
define them as creative.
(2) Symbolic Texts It explains how culture is created through media by producing, distributing, and
Model consuming symbolic messages. It focuses on industries like film, broadcasting, and
the press, which shape cultural expression.
This model also distinguishes between high culture (such as fine arts) and popular
culture, emphasizing how power dynamics related to social class, gender, and
race/ethnicity influence cultural production. In this model, popular culture takes
center stage, while high arts are placed on the periphery.
(3) Concentric Circles It organizes cultural industries based on their cultural value. At the core are the
Model creative arts (music, literature, and visual arts), where original ideas begin. These
ideas spread outward through layers of industries (called concentric circles), with
each layer having less cultural and more commercial content. The further from the
center, the more the focus shifts from artistic expression to market-driven
production.
(4) WIPO Copyright It focuses on industries that create, produce, manufacture, distribute, and broadcast
Model copyrighted works.
It emphasizes intellectual property as the key factor defining cultural industries.
It divides industries into three groups: core copyright industries (which produce
creative content), supporting industries (which distribute and deliver content), and
partial copyright industries (where intellectual property plays a smaller role).
(5) UNESCO Institute It classifies cultural industries into five core domains:
for Statistics (UIS) (1) heritage, (2) performance, (3) visual arts, (4) books and press, and (5) audiovisual
Model media.
It also extends to ‘related domains’ like tourism, sports, and leisure.
, (6) Americans for the It identifies arts-centric businesses involved in producing and distributing art.
Arts Model
Designed for advocacy, it highlights the economic impact of the arts, especially in
regional and local economies, to support arts funding and policy.
→ These models all embody different sets of industries that make up the cultural production sector of
the economy, and lead to different estimates of economic impact and policy focus.
→ Symbolic texts, concentric circles, and WIPO models have similar industries.
Is it possible to find a common group of industries on which all of these models agree?
To address this we need to understand why and how cultural products are valued by different
stakeholders (eg. experts, other producers, consumers)
Economic Analysis of the Cultural Industries
These are 6 different approaches to analyze cultural industries:
(1) Industrial It measures the standard economic variables for which data are always collected for
Organization Theory all industries (eg. gross value of production, value added, levels of employment, etc.)
Economic variables It also looks at organizational characteristics of markets
and organizational 1. Market concentration
characteristics 2. Barriers to entry and exit
3. Degree of competition
4. Product differentiation
It is relevant to cultural industry models oriented towards the commercial production
of cultural goods (WIPO model) but also for not-for-profit arts in certain conditions
like non-price competition
(2) Value Chain How cultural products move from creation to consumption through stages:
Analysis (1) creation, (2) production, (3) dissemination, (4) exhibition/reception,
(5)consumption/participation, (6) archiving/preserving, (7) education/training
Production chain
Used by firms to analyze performance in different stages of the production cycle
This model is dynamic or multi-stage and is relevant to all models
(3) Inter-Industry It is used to evaluate the economic impact of cultural policy
Analysis
Input-output analysis: output from one industrial sector as input to another sector
Economic impact of (spillovers)
cultural policy Social accounting matrices (SAMs): similar tool requiring less data for analysing the
impact of industries.
