https://thesis.eur.nl/col/4308/ List of Publications en https://thesis.eur.nl/pub/3823/ Mon, 01 Dec 2003 00:00:01 GMT <div>Kamp, M. van de</div> Doctoraalscriptie Algemene CultuurwetenschappenIn dit onderzoek wordt aan de hand van het locatiekeuzeproces van kleine culturele ondernemingen in Amsterdam en Rotterdam gekeken waarom ondernemers in de culturele industrie kiezen voor een bepaalde stad en wijk. In het locatiekeuzeproces spelen harde, rationele (o.a. huurprijs en bereikbaarheid) en zachte locatiefactoren (o.a. het imago van de locatie en de aanwezigheid van andere creatieve ondernemingen) een rol. Uit het onderzoek blijkt dat de locatiekeuze van kleine culturele ondernemers veel minder rationeel is dan veel mensen denken en blijkt dat het vooral een kwestie is van inspelen op mogelijkheden en privé-omstandigheden. https://thesis.eur.nl/pub/4765/ Wed, 23 May 2007 00:00:01 GMT <div>Berkum, Jenneke van</div> https://thesis.eur.nl/pub/4788/ Tue, 18 Mar 2008 00:00:01 GMT <div>Bosman, Eelke</div> https://thesis.eur.nl/pub/4718/ Tue, 08 Jul 2008 00:00:01 GMT <div>Ivanova, Sofiya Zhorova</div> As a classical art form, drama theater represents a huge part of the Bulgarian cultural scene. As a matter of fact, Bulgaria has a wide network of drama and puppet theaters, most of which are state-owned and therefore subsidized by authorities (national and local). Although the historical development of Bulgarian theater art commenced in the second half of the 19th century, quite late compared to the western European tradition, its popularity and significance has grown gradually in the past hundred years. The political changes in the country after 1989 led to many economic and social alterations. Of course, the cultural sector was not an exception. The hundreds of state-owned cultural institutions, including theaters, had to adjust to a new environment, which to the most part of the employed in the sector was petrifying. The performing arts organizations, namely theaters, also had to face challenges evoked by the new era. The drama theater performance, which to that moment had had very few alternatives as a leisure time activity was standing in front of a whole palette of entertainment options that obviously the thirsty-for-novelty public preferred. Therefore, theater managers needed to adopt new, inexistent to that moment in Bulgaria, techniques to bring the audience back in the theater halls. That was when the word “promotion” began to appear more and more often in culturally related publications, theater experts’ conferences, directors’ interviews. The focus of this research is to investigate what types of promotional activities drama theaters in Bulgaria currently conduct. The justification behind this choice is the fact that there is no existing literature on cultural marketing and promotion in the performing arts in Bulgarian and consequently – no available information of the development, experience and quality of the promotional activities of drama theaters. Therefore, the overall aim this thesis strives to achieve is to describe to some extent the current state of development and attitudes of the drama theaters towards the tools of the promotional mix. The research starts with a review of literature sources on cultural marketing and promotion. Secondly it delivers information on the Bulgarian drama theater scene, focusing on the history of this art form in the country and also explaining the organizational structure of theaters and the subsidy system. The research objectives and method are presented in the fourth chapter and finally, the obtained results and conclusions – in the final fifth chapter. https://thesis.eur.nl/pub/4736/ Fri, 01 Aug 2008 00:00:01 GMT <div>Sleebos, Dominique</div> https://thesis.eur.nl/pub/4826/ Tue, 12 Aug 2008 00:00:01 GMT <div>Reijnen, M.</div> https://thesis.eur.nl/pub/4719/ Thu, 28 Aug 2008 00:00:01 GMT <div>Kuijstermans, Eve-Marie</div> Internationally, the Dutch fashion industry is of modest importance. Although the Netherlands has a large pool of talented young fashion designers, and although many young promising fashion designers graduate from fashion academies each year, only very few ever become and remain to be successful in the international fashion world. How can this be explained? In order to find out what is ‘wrong’ with the Dutch fashion industry, one could look at Belgium. The Belgian fashion industry has delivered numerous successful fashion designers. Young designers seem to be on the brink of stepping in the footsteps of very successful designers like Dries van Noten or Ann Demeulemeester. Through a qualitative research with quantitative elements, this thesis attempts to explain the difference in commercial success between Dutch and Belgian fashion designers from a evolutionary perspective. The focus lies on two aspects of the fashion industry specifically: education and access to external finance. While differences in education are not such that they can account for differences in commercial success completely, several important differences in access to external finance can be held accountable. It appears that in order to obtain financial resources, Dutch and Belgian fashion designers follow very different paths. In the Netherlands, the easiest way to get financed is to apply for a variety of subsidies. To do so is completely rational. Subsidies are awarded on the basis of artistic quality. As a result, Dutch fashion entrepreneurs stress their artistic value. In evolutionary terms: they adapt strategically to their (financial) environment. But when the subsidies end and one has to apply for more commercial forms of financing, Dutch entrepreneurs find themselves trapped in artistry. At this point, these designers would need entrepreneurial skills and characteristics. Instead, they are ‘selected’ on qualities needed in an environment of subsidies. The subsidy system restrains Dutch designers from developing entrepreneurial characteristics and a proactive attitude towards external financing. The Belgian ‘financing environment’ is of a different character. In Belgium there is no ‘easiest way’ to get financed. Subsidies are very rare and the subsidies that do exist are granted on the basis of entrepreneurial qualities. As a result, Belgian fashion entrepreneurs stress their entrepreneurial and commercial qualities. In evolutionary terms: they adapt themselves strategically to their (financial) environment. https://thesis.eur.nl/pub/4720/ Fri, 29 Aug 2008 00:00:01 GMT <div>Cazzetta, Silvia</div> Since the aesthetic and historical value of motion pictures received universal recognition, films and cinema have been officially considered cultural heritage and therefore worthy of being preserved. Once defined and classified the cinematographicheritage, this Master thesis discusses the issue of its preservation and access within the theoretical framework of cultural economics. More specifically, the research question addressed is: what is the impact of digitalization and the Internet on the cinematographic heritage sector? The paper is divided into two parts. In Part I – in which the main literature is reviewed, ranging from the cultural economy of heritage to the economic analysis of the cultural industries (including issues related to copyright), and from the literature developed within film archival practices to the current debate on digitalization – the topic and the research question are investigated theoretically. At first, a case is made for the definition of a new category of heritage, labelled ‘information heritage’, which differs from both the tangible and the intangible heritage and whose essential attribute is reproducibility. The information heritage comprises all the products of the content industries and (only) within this category digitization equals preservation; as far as films are concerned, however, only their ‘content’ but not their ‘narrative’ can be transferred on new media, hence the authenticity value of a movie’s original negative and prints must be acknowledged. Having outlined the domain of the inquiry, the section continues with the application of the cultural economic theory on heritage to the cinematic sector, with the description of how the world of film preservation is organized (how archives, cinémathèques and film museums operate) and finally with the investigation of the revolutionary changes digital technologies have brought about in the field. The cultural economic analysis of a concrete example of a large-scale film heritage digitization project is also included. Part II, the empirical section of the thesis, researches how the potential power of digitalization is currently used (or not used) in the cinematographic heritage field and in particular how the audiences perceive this new reality. To address those objectives, a survey is designed, organized around a central willingness to pay question. The sample is selected among the users of YouTube who normally watch, upload and/or comment on (parts of) heritage movies on the ever increasingly popular website. The data collected is subsequently analysed both with descriptive statistics and econometrics (logistic regression). The outcome of the survey shows that peer-to-peer networks and online video on demand systems are considered the best ways of delivery of cinematic heritage content, especially in terms of accessibility. The results of the data analysis suggest that this occurs because (for several reasons) cultural institutions do not offer a satisfactory alternative and ignore contemporary audiences’ needs. In the concluding section, further research is recommended into the development of legal alternatives to YouTube and the torrents (that should occur under the supervision of experts), including extensive WTP studies that would help understanding how to maximize the revenue capture potential of the systems and assure their economic sustainability overtime. https://thesis.eur.nl/pub/4721/ Fri, 29 Aug 2008 00:00:01 GMT <div>Rovers, Tom</div> What values does a non-profit incubator in the creative industries produce? and Who are the beneficiaries of this? An Incubator is often regarded as a tool for stimulating entrepreneurship. An incubator seeks to provide a value for, among others, entrepreneurs, governments, partner companies and itself. The beneficiaries of these values depend on the model of incubation. This thesis studies how, where and for whom a non-profit incubator in the creative industries is able to create a value. Besides that, it also discusses the ways in which these values can be made visible and quantified. This is done by building on the existing body of research that focuses on university and for-profit incubators. The main challenge is to see whether and where this research applies to a non-profit incubator that is not related to a university. Contrary to most incubation research this thesis uses an ethnographic approach. By residing in an incubator (MediaGuild) for a period of three months it was possible to make observations and study daily routines. This data has been combined with the qualitative interviews that have been conducted with the incubators founders, managers, incubatees and others. An incubator can create values in the incubation process through its entry and exit procedure and by providing incubatees with facilities, knowledge and networks. At the same time an incubator can provide a service to society by moderating between education and business. https://thesis.eur.nl/pub/4723/ Fri, 29 Aug 2008 00:00:01 GMT <div>Zeekamp, Khosrow</div> Formation of culture depends on the formal as well as the informal education. Although education begins at home during the early childhood development and in the social environment, the formal education plays a pivotal role in the transmission and formation of culture. In recent years, the number of school dropouts on all educational levels and the lower educational attainments among some groups within the society have become the focus of political debate. For my master research at the department of arts and cultural studies of Erasmus university in Rotterdam, I have conducted a survey among the students at the intermediate vocational schools, vocational colleges and the university in Rotterdam. During my research, I tried to find out an answer to the following question: do the social economic background, the students’ cultural participation as well as parental cultural participation affect the students’ school results (average mark for all the subjects during their last study bloc). In my multivariate quantitative analyses, I used the data from 300 students who had fully completed and returned the survey questionnaires in which they were asked questions about their social economic backgrounds, their cultural participation as well as their parents’ cultural participation. Although prior to my research many scientists had explored similar questions at different times and different places, I was curious to find out whether their findings also apply to the students in Rotterdam 2008. The results of my research led me to conclude that Pierre Bourdieu’s field of cultural production, namely his Social, Cultural and Economic capital theory applies to the students’ school results in Rotterdam 2008. Social, cultural and economic capital play a determining role in the students’ school results. Alebrt Bandura’s Social cognitive theory, in which he asserts that the social environment plays an important role in shaping human behaviour, is valid. Fathers’ education and some of the parental cultural participation practices have a positive effect on the school results of their children. Harry Ganzeboom’s cultural participation theory in which he assert that peoples’ cultural knowledge and skills from their early pedagogical environment, previous education and individual experiences, partially contribute to their abilities in processing new information, also applies to the students and their school results here in Rotterdam. Furthermore the results showed that, when we take into consideration other intervening factors such as cultural participation and social economic background of the students, gender and ethnicity do not affect the students’ school results (average mark). https://thesis.eur.nl/pub/4738/ Fri, 29 Aug 2008 00:00:01 GMT <div>Trigt, Wendy van</div> https://thesis.eur.nl/pub/4825/ Fri, 29 Aug 2008 00:00:01 GMT <div>Jonker, K</div> https://thesis.eur.nl/pub/4717/ Fri, 29 Aug 2008 00:00:01 GMT <div>Adamowska, Weronika</div> Works of art, like commodities, financial instruments or real estate, can be a source of monetary appreciation, and may yield higher returns, relative to alternative asset classes. This view seems to be supported by the news on the stunning gains realized by the sellers coming cyclically from the international art market. The major question is whether those cases are representative of the whole art market, or are they just notable exceptions. The conclusion that may be drawn from the art investment literature is that, in general, art seems to underperform alternative assets. Moreover, investing in art involves substantial risk. However, it does not mean that art should be considered an inferior investment vehicle. On the contrary, the art market seems to offer some avenues for benefiting from owning an artifact, for example if artworks are used for portfolio diversification purposes or serve as a hedge against downside risk. Besides art’s monetary performance, relative to alternative asset classes, there is also a wide scope of other important issues related to investing on the art market. One of the major aspects is whether it is possible to predict art price movements and thus beat the market. This still remains a puzzle. Although the ‘nobody knows’ seems to be inherent to the art world, the history shows that some artworks, artists, movements, or artistic schools systematically appreciated over time. Moreover, connoisseurship and experience may give an investor a competitive edge over other market participants and enhance the returns on art. On the other hand, experience of some failed art funds might imply the opposite. Another important issue is whether there are any ‘fundamentals’ that might guide investors in their choice of particular artifacts. There is some evidence on the close relationship between the art and financial markets. If it holds for the art market in general, stock indices could be used as leading indicators signaling the upcoming boom or downturn on the art market. It would also enable investors to forecast art price movements and reap above-average gains. The art market clearly differs from other markets, one of its major features being inefficiency. This implies that the persistent anomalies could allow an investor to reap extraordinary gains, especially with the use of superior knowledge and expertise. Moreover, there might be an inverse relationship between the degree of maturity of the art market and returns on art. This would imply that, similarly to the emerging economies, the highest rates of return could be yielded on the fairly underdeveloped art markets, such as the Polish auction market. In order to verify the validity of this assumption, an empirical study on artworks sold on the Polish auction market in the period 1990-2004, preceded by a research the Polish art market, has been carried out. Although the evidence is mixed, some of the findings suggest that investing on a less developed auction market could result in substantial gains. With the rapid growth of China, India and Russia, and development of their art markets, this aspect may be of particular relevance, especially in the nearest future. https://thesis.eur.nl/pub/4789/ Wed, 18 Mar 2009 00:00:01 GMT <div>Stoter, B.</div> De keuze voor dit onderwerp was snel gemaakt, vanaf het begin wist ik namelijk al dat ik ‘iets’ met de oorlog in Irak wilde doen. Dat werd dus al snel mijn aanleiding. Vervolgens begon ik me af te vragen wat ik het interessantste medium vond. Ik koos voor film. Het belangrijkste was om deze twee factoren zo te combineren zodat het interessant zou worden voor onderzoek. Mijn hoofdvragen zijn: Zijn er in Nederland meer of minder films uitgekomen sinds het begin van de oorlog in Irak met oorlog als thema in de Hollywoodfilm en de art housefilm ten opzichte van de periode daarvoor? Is er een inhoudelijk verschil tussen de Hollywood oorlogsfilms en de art house oorlogsfilms wanneer we kijken naar de periode voor en de periode na het begin van de oorlog in Irak? Hoofdstuk 2 gaat vooral over de ontwikkeling van de filmsector. In dit hoofdstuk bespreek ik de Hollywoodfilm en de art housefilm. Ik geef definities van de begrippen. Tevens bespreek ik de geschiedenis van de verschillende soorten film. In het laatste deel bespreek ik de achtergrond van mijn onderwerp. Hierin beschrijf ik de maatschappelijke en de politieke context in de periode 1997-2007. In hoofdstuk 3 bespreek ik verschillende theorieën over de relatie tussen film en de maatschappij. In het eerste deel bespreek ik hoe verschillende onderzoekers deze relatie zien, hoe zij deze onderzocht hebben, en waarom zij vinden dat deze relatie interessant is om te onderzoeken. In het tweede deel geef ik een definitie van oorlogsfilms. In het derde deel bespreek ik hoe verschillende onderzoekers de inhoud van verschillende films hebben onderzocht en in hoeverre deze bevindingen gebruikt kunnen worden. In dit onderzoek worden alle in Nederland uitgekomen oorlogsfilms kwantitatief verwerkt om er zo achter te komen of het aantal oorlogsfilms na het begin van de oorlog in Irak meer is geworden is in vergelijking met de periode daarvoor. De interne analyse bevat een onderzoek naar de verschillende punten die zijn verkregen op grond van de theorie in hoofdstuk 3. De interne analyse bestaat uit de geselecteerde films die op de verschillende punten geanalyseerd zullen worden aan de hand van de theorie. Dit wordt gedaan aan de hand van onderzoeksgebieden die onderverdeeld kunnen worden in negatieve en positieve kenmerken. Ik voorspel hierbij dat de art housefilm meer negatieve kenmerken heeft dan de Hollywoodfilm. De vier onderzoeksgebieden zijn: Thema oorlog, Handeling hoofdpersonages m.b.t. de oorlog, Expliciete voorstelling van de oorlog en Afloop van de oorlog in de film. Uit de externe analyse bleek dat er meer oorlogsfilms in Nederland uitgekomen zijn sinds het begin van de oorlog in Irak. Tevens is er een verschil in de aantallen in de twee periodes (voor en na het begin van de oorlog in 2003) indien er een uitsplitsing wordt gemaakt tussen films die in de commerciële bioscoop zijn uitgekomen (de Hollywoodfilms) en de films die in de filmtheaters zijn uitgekomen (de art housefilms). Het aantal art housefilms stijgt explosief in de periode na het begin van de oorlog in Irak. Wanneer er gekeken wordt naar het totale aantal positieve en negatieve kenmerken is er te zien dat er niet altijd een duidelijk verschil zit tussen de periode na het begin van de oorlog in Irak en de periode daarvoor. Wel is er duidelijk te zien dat de Hollywoodfilm veel meer positieve kenmerken heeft dan de art housefilm. Dit geldt voor alle onderzoeksgebieden. Om een vollediger beeld te krijgen zou er eigenlijk nog een aantal jaren gewacht moeten worden met verder onderzoek. Het begin van de oorlog in Irak is immers maar een aantal jaren geleden. Vooral 2005, 2006 en 2007 waren opvallende jaren wat betreft de uitkomsten van dit onderzoek. https://thesis.eur.nl/pub/4790/ Wed, 18 Mar 2009 00:00:01 GMT <div>Gilsing, Janneke</div> https://thesis.eur.nl/pub/4791/ Wed, 18 Mar 2009 00:00:01 GMT <div>Schomaker, Maurice</div> The Netherlands and other European countries make their own heritage policy. The European Union and the Counsel of Europe can not make an overall heritage policy. The heritage policies in Europe are regulated by the European countries. There are a lot of different national heritage policies in Europe, where some countries have an intensive heritage policy and some countries do not have a policy. The Counsel of Europe and the European Union try to do something about this discrepancy. The make heritage conventions and treaties. They try to get harmonization between the European countries. This paper gives a description of the position and relation of the Dutch heritage policy compared with the heritage policy of the Counsel of Europe and the European Union. It investigates different aspects of the relation and position of the parties. The constrains of the Counsel of Europe and the European Union makes their position in making heritage policy in Europe clear. https://thesis.eur.nl/pub/6332/ Mon, 20 Apr 2009 00:00:01 GMT <div>Balalkina, K.</div> https://thesis.eur.nl/pub/6335/ Wed, 03 Jun 2009 00:00:01 GMT <div>Papastergiou, F.</div> https://thesis.eur.nl/pub/6333/ Thu, 25 Jun 2009 00:00:01 GMT <div>Boschmann, M.M.A.C.</div> https://thesis.eur.nl/pub/6337/ Fri, 26 Jun 2009 00:00:01 GMT <div>Ciocoiu, P.</div> Traditionally, schooling has been considered by cultural economists as a way of investing in human capital, therefore subject to cost-benefit analysis. However, due to the specificity of artists’ labour market, it was found that human capital applies only weakly to artists’ decisions of investing in formal education, mainly because of the role played by innate ability and the fact that the informal way of improving skills is still prevalent. Therefore, it was hypothesized that schooling has rather more social capital features than human capital. In this respect, when schooling was operationalized conforming to the two dimensions of social capital, reproducing some of the social structure and facilitating the accomplishments of conductors’ goals, it was found to have significant effects over their earnings and employment status. This finding indicates that social capital can be translated into economic terms and therefore is subject to investment and accountability of its rates of return. Moreover, due to its embeddedness in social networks and capacity of providing access to resources, the social capital perspective raises equity issues and justifies the policy debate of private finance versus public finance of schooling, on the ground of the fact that social capital seems to be a private good (i.e., excludable and rivalrous). It is more likely that social capital constitute a complementary theory to that of human capital rather than rival. The combination in different proportions of these two forms of capital may produce different outputs and social capital might represent a mediator in the effects of human capital over earnings. Thus, a further research design constructed in this direction could indicate the path of capital flow.