Now in its second edition, A Textbook of Cultural Economics is an established resource for many courses, including economics of the arts, the cultural and media industries, and the digital creative economy Authored by Ruth Towse, a widely recognised expert in cultural economics, the book offers a comprehensive, up-to-date overview and analysis of the field in the digital era Written in an accessible style, and with suggestions for further reading, it covers a range of topics, from the more traditional arts to the creative industries (such as music, film, games, broadcasting, and publishing), as well as the economics of artists' labour, markets and copyright This second edition considers the creative economy up to the present, emphasising the role of digitisation across the creative industries It will appeal to students taking courses in the economics of art and culture, and can also be used in courses on arts management and cultural policy

/pdf/a-textbook-of-cultural-economics-1fwtzstv6r.pdf

A Textbook of Cultural Economics

Now in its second edition, A Textbook of Cultural Economics is an established resource for many courses, including economics of the arts, the cultural and media industries, and the digital creative economy. Authored by Ruth Towse, a widely recognised expert in cultural economics, the book offers a comprehensive, up-to-date overview and analysis of the field in the digital era. Written in an accessible style, and with suggestions for further reading, it covers a range of topics, from the more traditional arts to the creative industries (such as music, film, games, broadcasting, and publishing), as well as the economics of artists' labour, markets and copyright. This second edition considers the creative economy up to the present, emphasising the role of digitisation across the creative industries. It will appeal to students taking courses in the economics of art and culture, and can also be used in courses on arts management and cultural policy.

A Textbook of Cultural Economics: Conclusion and exercises and problems

This article analyses whether a specific news event is reported differently online compared to print newspapers. The question is hardly new but has increased in importance as more readers pass from...

Still the Same

Since the late 1990s, the music industry has been undergoing a period of significant and crisis-ridden changes. This period was launched and driven forward by a new set of technologies: digitalization, data compression and the Internet. This paper analyzes the repercussions of this new technological constellation on the socio-economic structures and institutions of this sector. The depiction of this technology-driven sectoral transformation shows that at that time the constitutive impulses for restructuring came from the not well-established fringes of the sector and from external actors. The established companies of the music business were hesitant in accepting the new technological challenges. They initially reacted with blockades and containment strategies and only defined a strategic repositioning upon massive and un- deniable pressures to change. The paper argues that the low ability to anticipate and adapt to these technological, organizational and institutional challenges is based on the interplay of several factors. Among these are: (1) general difficulties in anticipating the socio-economic impact of fundamentally new technological opportunities; (2) complex and time-consuming processes of establishing a new techno-institutional match; (3) technological conservatism; (4) the oligopolistic structure of the sector; as well as (5) the hierarchically structured focal companies. Together these factors obstructed a controlled sectoral transformation orchestrated by the established core players. 
Die Musikindustrie befindet sich seit Ende der 1990er Jahre in einer tiefen und anhaltenden Restrukturierungskrise, die masgeblich durch ein neues Set an Technologien – Digitalisierung, Datenkomprimierung und das Internet – angestosen worden ist. In diesem Text werden die Wirkungen dieser neuen technologischen Konstellation auf die soziookonomischen Strukturen und Institutionen des Sektors sowie auf die Handlungsorientierungen seiner Kernakteure untersucht. Die Rekonstruktion des technikgetriebenen Wandels der Musikindustrie zeigt, dass die wesentlichen Impulse der Restrukturierung von den Randern des Sektors beziehungsweise von sektorexternen Akteuren ausgingen – und nicht von den etablierten Musikkonzernen. Diese haben die neuen technologischen Herausforderungen sehr zogerlich aufgenommen, darauf zunachst vor allem mit Blockadehaltungen und Eindammungsstrategien reagiert und erst vor dem Hintergrund eines massiven und unabweisbaren Veranderungsdrucks damit begonnen, sich strategisch neu zu positionieren. Die geringe Antizipations- und Adaptionsfahigkeit der zentralen Akteure der Musikindustrie wird aus dem Zusammenspiel mehrerer Faktoren erklart. Neben (1.) generellen Schwierigkeiten der Antizipation grundlegend neuer technologischer Moglichkeiten und (2.) aufwandigen Prozessen der Etablierung neuer, zu ihnen passender institutioneller Rahmenbedingungen haben (3.) der technologische Konservatismus und (4.) die oligopolistische Struktur des Sektors zusammen mit (5.) den hierarchischen Organisationsstrukturen seiner fuhrenden Unternehmen einen vom Kern des Sektors ausgehenden und durch ihn kontrollierten Wandel blockiert.

https://www.econstor.eu/bitstream/10419/88170/1/668458461.pdf

The Music Industry and the Internet: A Decade of Disruptive and Uncontrolled Sectoral Change

The Greek media landscape changed dramatically after the deregulation of broadcasting in the late 1980s. Despite a very significant rise in the number of media outlets, the level of ownership concentration is high in both the national newspaper and television markets, and has increased during the last decade. Moreover, a major problem of cross ownership has emerged. Strong anti-concentration rules were never enforced and legislation aiming to curb the economic power of media barons was blocked by the European Commission. The interdependence between political and media elites and the strong clientelistic relations that characterize the Greek political system are identified as the main factors behind the ineffective and contradictory nature of media regulatory policies.

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C. Sádaba

Papers

The impact of the Internet on business models in the media industries : a sector-by-sector analysis