https://thesis.eur.nl/col/4285/ List of Publications en https://thesis.eur.nl/pub/4765/ Wed, 23 May 2007 00:00:01 GMT <div>Berkum, Jenneke van</div> https://thesis.eur.nl/pub/4286/ Mon, 25 Jun 2007 00:00:01 GMT <div>Uraz, A.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipIn our contemporary era, the advocacy for culture has been articulated over many fields. Within the era of late capitalism culture is now heavily incorporated in regeneration and image (re-)making strategies of cities. The European Capital of Culture (ECOC) programme has become to serve as a catalyst for urban regeneration goals in cities. Among them, Istanbul is going to be an ECOC in 2010. By that time, Istanbul has a long way to learn from former ECOCs to understand the phenomenon and practice of culture-led strategies in urban planning and development. It is crucial for Istanbul to sustain the long-lasting impact for continuity. The thesis is based on three pillars. First, it examines why cities pursue culture-led strategies in urban regeneration and how culture can contribute to urban regeneration in social and economic terms. Second, it finds out what academics, local authorities and Istanbul 2010 actors can learn from the highly debated cases of Glasgow 1990 and Lille 2004. Third, the theory and analysis of case studies of Glasgow and Lille offers projections for the Istanbul 2010 event and open space for future research on the challenges. By performing a comparative analysis of case studies, the main finding is that culture has mainly contributed to city life in short-term. However, main problems in using the ECOC as a driver for urban regeneration emerged from high economic expectations and lack of clarity in long-term projections. Also, economic and social targets have fallen short in achieving sustainability and integrity. The remedy is to assure that culture-led urban regeneration is backed up by concrete measures directed to economic and social issues separately. It is also found out that culture is way to far to solve structural problems of the city by itself. https://thesis.eur.nl/pub/4294/ Sun, 01 Jul 2007 00:00:01 GMT <div>Fang, L.Q.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipCultural economics is recognized as a new field of economics. It offers a new perspective for looking at the characteristics of cultural goods and services, implementation of cultural policies, finance of the art and diverse forms of cultural industries. Due to the unequal socioeconomic development among different countries, many global-scale cultural industries are mainly dominated by a few developed countries. Today through the advanced communication and transportation technologies that globalization provides, cultural tastes seem to be homogenized and the economic power seems to be centralized. This paper focuses on the development of cultural industry in a developing country. It takes the Chinese animation industry as an example and uses a quantitative method to explore whether and how the Chinese animation industry is affected by globalization between different market periods. It suggests that in the presence of globalization, the development of the Chinese domestic animation industry is affected. To be more specific, the volume of the Chinese animation is increased across different market periods; the technique to make animations in China is shifted from the traditional to computer technique; the content of the domestic animations in China is changed and more foreign like; the amount of merchandise produced from the Chinese animations is increased across periods and the labour market of the Chinese domestic animation industry is destructed by the increased international trade. https://thesis.eur.nl/pub/4289/ Fri, 24 Aug 2007 00:00:01 GMT <div>Lee, H.Y.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipAs cultural economics has become the economics of the 21st century, its multi-dimensional characteristics in developing art and culture have led to infinite discussions. Taiwan, the island of high-tech, has 86% of the area of the Netherlands but the population of Taiwan is 1.38 times the population of the Netherlands . The GDP of Taiwan in 2006 has reached USD 680,500 (€503,570) million and was ranked 16th in the world by The World Factbook . Unfortunately, the government has failed in supporting art and culture Taiwan. “Taiwan is a rich country, but affluence is not the major factor to win international recognition and respect. Without better cultural capital and better support in art and culture, Taiwan is going astray in the future” says Dr. Robin Ruizendaal, a Dutch researcher in Chinese and Taiwanese puppet art . The failure of the government and the shrinking governmental subsidies has emphasized the support from the third sector. As we take a close look at the art and cultural developments in Taiwan, it is not hard to realize the importance of domestic NPO development. The resources behind them should never be neglected. According to the “Directory of 300 Major Foundations in Taiwan”, the total endowment of the foundations in supporting art and culture accounted more than €21.4 million in 2004 (Himalaya, 2005: 217-222). Nevertheless, these corporate foundations have become the crucial strength behind the artistic and cultural industries in Taiwan, especially those established by the high-tech companies, the superstars of domestic industries. This research revealed the operating models among three types of high-tech corporate foundations in their behaviors in supporting domestic art and culture. As the demand of support has increased in developing art and cultural industries, instead of the one-way perspective that “art and culture needs support”, this research proves true another perspective from the other way around that” the businesses need support from art and culture”. As more and more high-tech companies in Taiwan are in favor of sponsoring artistic and cultural events, this also encourages more and more artistic and cultural organizations to try to look for partnership with these high-tech companies and their corporate foundations. The objective of this research intends not just to reveal the benefits to the high-tech industries in Taiwan that sponsorship in art and culture can help to increase corporate brand value. The effects are no less than what they have done in business marketing by spending money in advertising and promotion. Further than that, this research intends to probe into the sponsoring behaviors behind these high-tech business and their corporate foundations and to provide all those art and cultural organizations which are deficient in funds an efficient way to gain more support. This research can provide a better strategic reference to keep the art and cultural performances rolling and going and polish art and culture till it shines. https://thesis.eur.nl/pub/4290/ Fri, 24 Aug 2007 00:00:01 GMT <div>Salazar Borda, J.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipCongestion or overcrowding is a common adjective when one is referring to visit a museum, especially if it is a very famous one. It can be said that, because of the huge number of visitors famous museums attract every day, the experience may be affected because of uncomfortable incidents such as queuing, noises and at the end in a failure to enjoy the collection. In smaller museums those incidents can be even more uncomfortable, especially in those ones which are located in original houses. Those museums try to preserve the houses in their original condition and the exhibition of the collection is shown in small rooms where having just a few people inside can diminish considerable the experience one may have. Thus, there may be some people who are willing to pay more in order to avoid congestion. Actually this extra amount that people may be willing to pay is a cost that visitors impose on each other. Within the methodological framework of Contingent Valuation (CV), the purpose of this research was to find in the Rubenshuis Museum the ‘congestion cost’ or the amount visitors are willing to pay in order to avoid too many people inside. A number of 200 site interviews with museum visitors, either entering or leaving the museum, were made. The analysis of the results showed a strong tendency of visitors to prefer not congested situations. However, their WTP more for increasing the price of the ticket was low (€1.33 in average). It was also found that the WTP goes up if visitors were women, were older, were better educated and had a bad experience at the museum. In addition, those visitors who were in their way out of the museum showed a higher WTP than those ones who were in their way in. Other options to diminish congestion were also shown to the visitors. Extra morning and night opening hours were the most popular ones among the sample, which is an alert to the museum to start thinking in improving its services. The Rubenshuis Museum is a remarkable example of how congestion can be handled in order to have a better experience. That was reflected in the answers visitors gave about congestion. In general, even if the museum had a lot of attendance, people were very pleased with the experience and they were amply capable to enjoy the collection. https://thesis.eur.nl/pub/4287/ Fri, 24 Aug 2007 00:00:01 GMT <div>Bauer, O.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipThe film festival phenomenon originated in Europe in 1930s and spread around the globe in the subsequent decades. Nowadays, different types of film festivals exist and almost all countries hold at least one international film event. The characteristics of cultural policies and the structure of financial agreements in Europe resulted in a necessity for festival organizers to be creative in their fundraising strategies. A film festival is impossible to survive without the support from its multiple stakeholders, such as central and local governments, sponsors and business community, media, filmmakers, and the host community. The film festival is a phenomenon embedded in the attention economy, event management, and the film industry, and its most important role is to translate cultural and artistic values into economic and social ones. A range of factors (agendas) influences the financial side of the film festival: political pressures, national legislative patterns, economic conditions of a country, historical significance of the festival, cultural policies, geopolitical implications, status and type of a festival, and many others. European cultural policies, rationale of state intervention, city marketing, and corporate sponsorship are topics that have been researched by the economists in numerous studies (e.g. Acheson & Maule, 1994, 2004; Schulze, 1997; Footer, 2001; Peacock, 1969, Abbing, 1980, Throsby, 1985, Kirchberg, 1995, Bonet, 1997, Smyth, 1994; Ashworth, 1990). However, very little research has been done on the application of the above subject matters in the film industry and the film art. Therefore this study will analyze the financing mechanisms that are applied at film festivals, considering the role which these cultural events play for the economy, society, and the arts. The central research questions of this thesis are: ‘Why do film festivals have so many stakeholders?’, ‘Why do they need to redirect their focus in terms of way of realizing their values?’ and ‘How do festivals cope with changing circumstances as far as their financing is concerned?’ Attention is an important factor driving festival organizers, sponsors and all other stakeholders. Davenport and Beck (2001) argue that today’s most pressing problem is not enough attention to meet the information demands of society and business. We live in a new economy, where capital, labor, information and knowledge are in plentiful supply. What’s in short supply is human attention. Therefore, these scholars state that organizations will have to find more effective ways to allocate attention toward the information and knowledge that matters, and these will focus on paying huge amount of money to buy ‘eyeballs’ and get a few minutes of people’s attention. Film festivals are part of the ‘attention industries’ as the hype, buzz and media exposure related with the event attract a lot of attention and are exploited by various festival stakeholders. https://thesis.eur.nl/pub/4288/ Fri, 31 Aug 2007 00:00:01 GMT <div>Lu, Yu-lin</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipAbstract The topic of cultural globalisation is dominant in academic research circle and has influences in different dimensions. There is much evidence to indicate the globalisation is characterised by the fading of national cultural identities as well as proliferating culture heterogeneity. In the process of globalisation, people want to differentiate themselves from the globalised culture and want to deliver a unique cultural identity. A local museum, for example, needs a great degree of interaction with local inhabitants, and it needs to absorb local cultures and resources to transform them in a presentable way to the audiences. Brands and logos originally are used by manufacturers to distinguish their products from competitors’. Brands are specifically used as a means to identify products and to recognise and specify products if consumers should wish to repurchase or recommend a manufacturer’s products to others. Nevertheless, the basic function of a brand i.e. to discriminate from others still remains. The globalisation trend and branding spirit also have impacted industries in Taiwan. Economic development in Taiwan has been growing rapidly in the past decades. As the global economic structure changes, the manufacturing lines have been gradually moved to the neighborhood countries which offer lower labour costs. Taiwan thus entered a new “knowledge-economy” era. “Cultural creative industries”, an exclusive created term by Taiwan, is one of the typical “new economy” industries which are highly advocated by the government. Museum, is one of the typical cultural goods categorised in cultural and creative industry. Under this circumstance, how does globalisation influence the branding concepts on the cultural creative industry in Taiwan, especially on a local museum? In order to uncover the interaction between globalisation and museum’s’ branding strategy, in this research, a new local museum, the Gold Ecological Park is selected. An interpretative model with a qualitative research method involving e-mail surveys, is employed. The attitude of museum employees on different aspects of globalization and branding will be examined. Some research limitations will be outlined and several recommendations will be made for future research. https://thesis.eur.nl/pub/4291/ Fri, 31 Aug 2007 00:00:01 GMT <div>Budding, F.M.</div> Master Thesis Arts and CUltural Studies: Cultural Economics and Cultural EntrepreneurshipIn this master thesis I examined the market of Rembrandt works of art sold at auction between 1986 and 2007. I investigated which factors and what phenomena play a significant role in the determination of prices. Rembrandt’s high prices in general can partly be explained by the specific circumstances of his life. The fact that Rembrandt was born in the right place at the right time, that he was already soon discovered by the experts and his difficult personality, must have had an influence on his later popularity. Due to the Rembrandt Research Project (RRP) Rembrandt’s oeuvre gets smaller. In economic terms this implies that his supply becomes scarcer and hence, his prices higher. During the investigated period the market for his prints, drawings and paintings did not become thinner. His average price of prints and drawings did, however, increase. This may be due to the fact that the “brand” Rembrandt became bigger. The market for Rembrandt paintings has been extremely thin for more than twenty years. The prices of paintings did not seem to grow. With the help of a quantitative and qualitative analysis, the following points were found: The pre-sale estimates turned out to be good predictors of hammer prices. This may confirm the idea of experts as producers of value; Sotheby’s and Christie’s were best able to attract the most expensive paintings; A weak relationship exists between the price and the number of years that lies between two sales; Panel paintings seem more expensive than pictures on canvas; No clear relationship seems to exist between size and price; A proof of authenticity of the RRP is a strong predictor of price; Signature has a influence on price; A refined and “finished” style is appreciated by the buyers as long as it remains “rembrandtesque”; Subjects close to Rembrandt as an person, e.g. an portrait of someone close to Rembrandt, seem to be valued higher than for instance commissioned portraits; Head pictures are highly valued. This may be due to the fact that these “fantasy figures” are products of the master’s mind. It’s typical refined style may however also be the cause for this; Rarity in case of subjects does not seem to play a role. But paintings of rare working periods seem to have a price increasing effect. Finally, I investigated the buyers and sellers of Rembrandt paintings. Conspicuous consumption may play a role in the motivations of buyers. This is, however, difficult to proof. The market consists mainly of dealers which implies that the market can be characterized as a wholesale market. The auction prices are therefore relatively low. https://thesis.eur.nl/pub/4297/ Fri, 31 Aug 2007 00:00:01 GMT <div>Schrijvershof, C.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipThe subject of this master thesis refers to discussion about free entrance to museums. Politicians tend to give price a heroic role in the field of art and culture, but the question is if the desired increase in demand is attributable to the price only. The question to be answered in this thesis is as follows. ‘What is the price elasticity of museum demand, what other factors influence this demand and are there any differences to observe between the different types of museums?’ This thesis is split up in two parts; a theoretical framework, which is covered by chapter two to five and a research framework. The first chapter is an introductory chapter wherein some background information is given about the Dutch policy in the realm of arts and culture and museums in particular. https://thesis.eur.nl/pub/4298/ Fri, 31 Aug 2007 00:00:01 GMT <div>Schuring, M.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipThe main challenge of this thesis is to find out why professional Dutch deejays hold multiple jobs. Besides, there is also attention for the kind of (arts, arts related and nonarts) work that deejays have next to their work as a performing deejay, for their profession in general and the characteristics of the supply-side of their market. The research provides information about the profession of the deejay, tests the classical explanation for multiple jobholding and compares it to alternative explaining theories. The phenomenon multiple jobholding is one of the characteristics of the labour market for artists. The other characteristics are: relatively low incomes, a skewed distribution of income, many short-term contracts, oversupply and a high rate of self-employment. Because of these characteristics, the artistic labour market is a popular subject in cultural economics. In this thesis is attention for a special approach of the ‘deviating’ labour market for artists. To answer the main question in this research, six possible explaining theories for multiple jobholding among artists are presented and tested among a selected group of Dutch deejays. The hypothesis are based on the theories of risk diversification, the standard-model of labour supply, the work preference of arts work, the work preference of arts and arts related work, role versatility (that leads to more control over the work) and social capital (that leads to contacts and indirect to more work and status). The results of the qualitative research show that the main part of the Dutch deejays is male. Furthermore, the greater part of the respondents sees deejaying as their main occupation and is active as a dance deejay (mainly in the style house). Deejays share some of the characteristics of the general artist as most of them are self-employers, they cannot work as much as they want (oversupply), many of the respondents work in short-term contracts and the supply side of the market has superstars and deejays that are more ‘hobbyists’. Almost 85% of the deejays is a multiple jobholder and programming and organizing parties is the most found arts-related job in the research. The results do not point at one reason for holding multiple jobs among deejays. It can be concluded that the motives can mainly be found in three of the explaining theories. Firstly, the results point at the need to reach a sufficient level of income. Until that level is reached with arts and arts related work, non arts work is done. Secondly, role versatility explains multiple jobholding. By having a second job/role, control over the arts work is created. Finally, social capital is of importance. Especially arts related jobs lead to contacts that are beneficial for the deejay career. https://thesis.eur.nl/pub/4405/ Fri, 31 Aug 2007 00:00:01 GMT <div>Sokolova, Irina</div> Master Thesis Cultural Economics and Cultural EntrepreneurshipAbout the economic importance of copyright and performers’ rights role in the UK music industry. Also about gaining the view of economists on the optimal performers’ rights duration, and then the point of view of the music industry players. https://thesis.eur.nl/pub/4295/ Fri, 31 Aug 2007 00:00:01 GMT <div>Delst, A. van</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipThe objective of this research was to provide a framework with success indicators for partnerships between cultural and business organizations. Cultural and management literature are analyzed on success indicators for partnerships, and key success indicators were formulated. Next, the key success indicators are compared. After an inter-rater reliability analysis of the key success indicators selected, a final framework with key success indicators in the literature is presented. The following fourteen key success indicators are described in the literature and were selected for the research: Structure and Management, Trust, Resources, Differences an Similarities, Learning and Evaluation, Commitment, Communication, Involvement of Stakeholders, Democratic Practice, Clear Purpose, Leadership, Flexibility, External Influences, and Capacity. The framework with fourteen key success indicators selected from literature, is tested on applicability and importance for partnerships between cultural and business organizations, through interviews with eight respondents. From the quantitative part of the research can be concluded that all key success indicators are enough applicable and important for partnerships between cultural and business organizations, because on average they are all scored above three. On base of the scores the order in terms of importance and applicability is as following: From the interviews can be concluded that all indicators are supported in the literature as well by the respondents. Some extra key success indicators came up during the interviews, which are not mentioned in the literature: personality and the match or click between partners is important and determines partnership success according the respondents. The respondents mentioned also relations between key success indicators. These are included in the final framework: (image) This framework is a first step in creating consensus on the determinants of partnership success, because it includes indicators from various studies. The key success indicators are controlled through an interview with experts, and the study is carried out by an independent researcher, this is a unique for research on this subject. The research delivered fifteen key success indicators for partnerships between cultural and business organizations. Of course it will be hard to implement all indicators at the same time, but the information provided in the conclusion can be used by the organizations, and others, to plan future partnerships. In this research becomes clear that the key success indicators of business studies show overlap with key success indicators of cultural studies. And the conclusions of this research indicate that the key success indicators of business studies and cultural studies are applicable on partnerships between cultural and business organisations. Combinations of fields of study lead to surprising results, applicable for Cultural Economics. This research is an eye-opener for Cultural Economics, because it shows that business theories can be applied on cultural subjects. The framework gives an impulse to stimulate passing on knowledge between the two sectors, to benefit both sectors. https://thesis.eur.nl/pub/4300/ Fri, 31 Aug 2007 00:00:01 GMT <div>Water van de, M.</div> Master Thesis Arts and Cultural Sciences: Cultural Economics and Cultural EntrepreneurshipThe connection between the corporate world and the cultural world is a difficult one, because both worlds have very different values and objectives. Nevertheless connections are made. This thesis is about the connection between Dutch banks (financials) and the cultural sector in the Netherlands, the connection that is talked about here are sponsorships. This connection between the financials and the cultural sector is not something new, but is present for a few decades. It started in the 1970’s with the art collections of the different financials and in the 1990 the sponsoring of the arts emerged. This thesis focuses on the five largest banks in the Netherlands, these are: ABN-AMRO, Rabobank, ING, Fortis and the BNG. All these banks have sponsorships with cultural institutions in the Netherlands except for the BNG with uses a fund to support the arts. The Fortis also uses a fund next to their sponsor activities, the VSB fund. From the literature a model can be made from which motivations for the sponsoring of arts and for corporate philanthropy can be deducted. The motivations for sponsoring and corporate philanthropy are: For engaging in a sponsorship - promoting image or name of the company - increasing employee commitment - increasing suppliers/clients loyalty - rent seeking For corporate philanthropy - Non monetary benefits for managers or owners of the company - Good corporate citizenship - Lobbying for goodwill from society These motivations where given to the different financials by means of a survey. The financials could then give the matter of applicability for each motivation. Not only were they asked for the applicability for arts sponsorships, but also for sports sponsorships and for causes in society. Next to this survey qualitative interviews were held with the ING, the BNG and with the VSB fund in order to get some more detailed information. The results of the survey tells us that the main motive for engaging in a sponsorship with the arts is the promotion of the image, next is the increasing of suppliers/clients loyalty (hospitality) and for the arts the good corporate citizenship also applies. For sports sponsorship the promotion and the hospitality motives are the most important and for causes in society the good corporate citizenship is the most important motive. These results tell us that the sponsoring of art is a commercial activity but that the altruistic motivations are also applicable, but not as much as when it comes to causes in society. From the in depth interviews and also from the survey it becomes clear that the sponsorships of financials with cultural institutions are behaving more like a partnership that as a sponsorship. Both parties are trying to work extensively together and are trying to achieve something. This can be explained as a positive development, but cultural institutions must be very careful when making these type of deals, because they might get into something they do not fully understand and then the relationship is no longer equal. This has influence on the outcome of the deal. Caution must be taken when arranging sponsorships with cultural institutions, because the connection between two different words can be problematic. https://thesis.eur.nl/pub/4303/ Fri, 31 Aug 2007 00:00:01 GMT <div>Velde van, A.M.M.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipCultural diversity is a ‘hot topic’ in cultural policy, and cultural organizations in the Netherlands are being pressured to account for cultural diversity in the products they offer, as well as in the audiences they draw. This thesis focuses on the way music venues in the Netherlands seek to attract a cultural diverse audience, and puts forward marketing theory as the solution to the problems they struggle with. General marketing theory urges organizations to approach the market from a consumer point of view, taking into account the consumer’s preferences and wants and needs. Specific performing arts marketing theory argues that this approach is applicable to the arts, when allowing for creativity and autonomy of the artist. The cultural marketer can use the four remaining P’s, being price, place, personnel and promotion, to create a product that appeals to a specific audience by considering the specific preferences of that audience. Ethnic-specific marketing aims at explaining the cultural factor in consumer behaviour, and has found that cultural background does play a large role in an individual’s life and the decisions that are made. In non-Western cultures in general, there is a high-context characterization, meaning there is a large influence from the group on the individual members on the group. Reference groups such as family and friends have the largest influence on the individual, as their opinion is closest to that individual. Also opinion leaders within groups, who have gained high status, have an influence on the opinions that are shared within the group. These opinion leaders can be used as intermediaries by cultural organizations. They function as a bridge between the cultural organization and the cultural community the organization is attempting to reach. The message is communicated through the opinion leader who is believed to be credible and trustworthy within the community. To find how cultural organizations deal with cultural communities in practice, research was set up in which ten different music venues in the four largest cities in the Netherlands were interviewed, and asked for their marketing activities towards specific cultural communities. The main conclusion that was drawn is that cultural organizations indeed use intermediaries to relate to specific cultural communities. These intermediaries are however not persons but more frequent organizations who operate within the community. It also became clear that the programming of the venues was a crucial factor in the decision making process of which communities would be targeted. https://thesis.eur.nl/pub/4307/ Fri, 31 Aug 2007 00:00:01 GMT <div>Bird, E.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipWhat is cultural economics and what can an understanding of it add to the discussion of the creative economy? From neo-liberal policies to expand the market and reduce government intervention the creative economy gained ground within the swell of new capitalism in the 1990’s. It was as much a rhetorical concept that re-positioned cultural policy from a spending ‘frill’ as it was an economic response to the Post-Fordist economy. With a focus on arts, cities and people the creative economy is primarily concerned with the economic aspects of creativity. This thesis makes a link between cultural economics and the creative economy through a theoretical approach that constructs a new model for understanding cultural economics and then applies it to the notion of the creative economy. New questions arise from this and point to how the creative economy can benefit from further links to cultural economics in tapping into other conversations such as the cultural benefit of government subsidies or the tensions between the private and public aspects of the creative economy. The constructed model represents these different sides of the conversation through the framing of: Dualism, Positivism, and Moralism. The aim of the thesis is to advance the cultural economics discussion by contemporizing its debates and to push the creative economy discussion towards an enhanced criticality apart from political or economic ambitions. https://thesis.eur.nl/pub/4308/ Fri, 31 Aug 2007 00:00:01 GMT <div>Zorzi, E.</div> Master Thesis Cultural Economics and Cultural EntrepreneurshipAccording to marketing theory, promotion is an instrument used by organizations to communicate. Through promotion, an organization creates an image of itself and of its products, which usually reflects the organization’s core values. The four main tools used in promotion, as they are portrayed in marketing literature, are advertising, personal selling, public relations, and sales promotion. Publicity, also known as un-paid media coverage, is a promotional tool, and in these texts it is usually considered as a part of public relations. Publicity serves to promote a product or a company in the media without paying to advertise. Publicity is probably the most popular form of public relations work conducted by museum. In order to promote itself, the museum needs to find or create favourable news about its collections and exhibitions, and the news is helpful in stimulating public interest in new artists. Moreover consumers are more likely to be influenced by news and editorial copy than by advertising. In the literature about museum marketing, publicity is usually just mentioned in the form of free publicity and as such as one of several public relations tools. In this thesis we investigate how museums of modern and contemporary art make use of publicity for exhibitions. Museums invest a large part of their promotional efforts in publicity, therefore the subject is relevant and important. We analyzed three museums of modern and contemporary art in Italy and three museums in the United Kingdom, in order to compare the ways of using the publicity tool in two different countries. Due to the scarcity of literature about publicity for museums, and especially for exhibitions, an interpretive approach with mainly qualitative methodology has been chosen. The research methods used are: content analysis, media coverage analysis, and non-structured interviews. While for the content analysis and the non-structured interviews, we have followed a qualitative approach, media coverage analysis has been used to quantitatively evaluate some aspects of publicity, although the results of the analysis have been interpreted from a qualitative point of view. The aim of this research is to provide an overview of the functioning of publicity for exhibitions in museums, taking into account in particular the creation of press releases, the choice of a media list and the media coverage. This research does not aspire to act as a manual for publicity or to criticize the work performed by museums and their publicity departments, but rather to give insight into an important aspect of museums and their promotion and, possibly, to open a new branch of research in this field. https://thesis.eur.nl/pub/4309/ Fri, 31 Aug 2007 00:00:01 GMT <div>Jubitana, G.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipFindings from the VNG research and questions that remain about twinning form a basis for the theoretical angle in this research. As mentioned before, I am interested in the effectiveness of these relationships. From my initial encounter with twinning (Haarlem-Mutare) I got the impression that things were organized slightly informally. This was just an impression and does not say anything valid about the real situation, but it did make me wonder: what goals do municipalities involved in twinning relationships have? Furthermore; do they live up to their goals and meet standards? To be precise: are twinning relationships effective? Additionally, I am interested in cultural aspects of twinning relationships; what is it that municipalities label as culture? Do people involved think of culture in a broad sense or is culture seen in the specific sense with a focus on the arts? This justifies my focus on cultural twinning relationships. Within the framework of this thesis, this results in the following research question: With regard to twinning, are cultural municipal relationships in the Netherlands effective? Besides effectiveness I would like to research efficiency as well. Anticipating the available data within involved organizations, I am not sure whether there will be sufficient information to give a judgment on efficiency. https://thesis.eur.nl/pub/4311/ Fri, 31 Aug 2007 00:00:01 GMT <div>Li, X.</div> Master Thesis Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipThis master thesis investigates into the role of intermediaries in the design industry under the Chinese and European context. The comparative analysis centers on the question of what enables and supports an ecological environment for design creativity, the production and consumption of design, and how the dynamics works in relation to key intermediary factors for creative enterprises. The central argument of this thesis is that to stimulate a sustainable creative process, it will not be enough simply to empower the individual; individual creativity will thrive when it is part of a larger creative "system", through which different ideas and talents can add to each other's value. Engineering such a system is the role of the creativity intermediaries, enabling connections across boundaries and encouraging people to exchange ideas and to collaborate in their mutual development. It was found that strong organizational intermediation offers more scope for both business development and artistic innovation in the design industry. It does so by reduce or eliminate transaction costs associated with a design transaction process, and on the other hand, it offers an environment in which independent designers get the freedom to nurture creative ideas and gain better surplus from their work. By analyzing three transaction dimensions of the design industry, namely asset specificity, uncertainty and transaction frequency, it is inferred that the ideal structure of the design industry should be hierarchical; however, such a deduction is in conflict with the reality in which the design industry is featured with a network of small companies. Therefore, the other variable creativity is brought into consideration. It is found that the specific qualities of the design industry require a creative atmosphere that only independent designer studios or small companies can provide. But that brings a dilemma between reducing transaction costs and nurturing creativity. Faced with such a contradiction, the role of intermediation is brought forward as a solution. This study has established that intermediaries play a very important role in the development of the design industry. In addition, it confirms that the creativity problem of creative industries can be partially solved by an efficient mechanism arrangement. The thesis’s findings build on alternative meanings of the word intermediary as found in Caves and theory associated with transaction cost and creativity, which have been found to be central and indispensable for the design industry. In this light, this study extends the existing discussion of the intermediation mechanism in creative industries, while going further into a specific industry context-design, which has rarely been discussed in the literature of cultural economics. https://thesis.eur.nl/pub/4316/ Fri, 31 Aug 2007 00:00:01 GMT <div>Feddema, M.M.</div> Master Thesis for Arts and Cultural Studies: Cultural Economics and Cultural EntrepreneurshipThe central research question that results from these considerations and theory is the following: How did interest groups, bureaucrats, and legislators influence decision-making in the case of free admission to national museums in the Netherlands and England in the period between 2001- 2007 ( the Netherlands), and between 1996-2002 (England), and have they been successful? https://thesis.eur.nl/pub/4406/ Fri, 31 Aug 2007 00:00:01 GMT <div>Kremer, Tineke</div> Master Thesis Cultural Economics and Cultural EntrepreneurshipSince the 1980s, the Ministry of Education, Culture and Science has tried to encourage the cultural sector to emancipate by acquiring private funding. Whether this encouragement has been effective for theatre accommodations is uncertain. There are no actual academic studies that present a complete overview of the partition of private funding in the total income of Dutch theatre accommodations. This research has mapped various private cash flows through a survey among seventy professional theatre accommodations and five interviews with theatre directors and a fundraising consultant. ‘What is the score?’ The most striking conclusion derived from the survey results is that Dutch theatre accommodations have acquired 5.5% of their total income by private funding in the book year 2006. This percentage is considerably higher than CBS data show. The CBS only distinguishes the giving scheme sponsoring within the costs and benefits of performing arts accommodations, which comprises 1% of the total income. (CBS Statline, 2002) Other academic studies do not provide a decisive percentage neither. (Scholts, 1992; Oomen, 2005; van den Berg, 2006) Consequently, the 5.5% private funding derived from the survey provides a completely renewed insight in the current financial situation of theatre accommodations in the Netherlands. On the exploitation balance of surveyed theatre accommodations, sponsoring is the largest source of private funding, bringing in 42%. Private funds take a second place with 27% and friends associations bring in 16% of the total private funding. Small theatres acquire private funding above average, in contrast to large theatres that generate private funding below average. In theatre construction projects, business sponsors and private foundations bring in most private funding. Yet, businesses request expensive compensations so one may conclude that the private foundation is the most cost effective giving scheme. Since 1992, the number of theatre managers that feels encouraged or strongly encouraged by the Dutch government to acquire private funding has increased. In 2006, the majority of the theatre managers feels encouraged or strongly encouraged by the government to acquire private funding. The surveyed theatre managers argue that they feel encouraged, because the Municipality does not provide sufficient subsidy to perform all of their ambitions. They feel forced to generate alternative sources of income, such as private funding. On the contrary, all of the interviewed theatre directors do not feel encouraged by the government to generate private funding. They claim that fiscal facilities are not attractive for donating to theatre accommodations. Moreover, the local councils of the interviewees appear quite indifferent towards to what extend the theatre managers acquire private funding for their construction project. The measures taken at State level meant to encourage the acquisition of private funding do not reflect much on the cultural policy at local level. However, the interviewees state that acquired private funding is never ‘punished’ by a decrease of subsidy by the Municipality. According to Job van Dooren, private funding of theatre accommodations has expanded in volume during the past fifteen years. Yet, relatively it has not increased, since exploitation and construction costs have risen proportionately. However, business sponsoring increasingly draws the attention in the theatre sector, whether it concerns sponsoring of newly built theatres or businesses that buy a tile in the scenery of a production by theatre company Alaska. The rise of maecenatism in the theatre sector manifests in expanding and reinvented friends associations, increasing contributions by various private funds en innovative giving schemes, such as the ‘Adopt a Seat’ concept. These developments indicate a positive perspective for the future of private funding in the Dutch theatre sector. Entries: cultural economics, private funding, art sponsoring, art maecenatism, theatre management, theatre accommodations, cultural construction projects, cultural policy, local cultural policy, friends associations, fundraising, art donations, charity lotteries, business clubs.