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on Cultural Economics |
| By: | John Quiggin (School of Economics, The University of Queensland) |
| Abstract: | The rise of New Media associated with the Internet has radically changed many aspects of daily life, and enabled us to do things that would have seemed unimaginable even a few decades ago. The speed and volume of communications has increased by a factor of a million or more since the Internet first emerged in the 1990s, and there has been a corresponding proliferation of information. Yet the economic implications of New Media are hard to discern. The famous observation of Robert Solow (1987) that ‘You can see the computer age everywhere but in the productivity statistics’ is just as valid today as it was when he first made it more than twenty years ago.The age of new media has produced only a handful of profitable new companies (Amazon and Google are the most notable examples). At the same time, while old media (newspapers, TV, radio) have proved more resilient than many observers expected, their business models have been severely undermined. This chapter will discuss what economics can tell us about New Media. More interestingly, perhaps, at least to those concerned with the long-term impact of New Media, it will examine the implications of New Media for economics and economic organization, and offer some policy recommendations. |
| Keywords: | Media |
| Date: | 2012–04 |
| URL: | http://d.repec.org/n?u=RePEc:rsm:pubpol:12_1&r=cul |
| By: | Yeongkwan Song (Asian Development Bank Institute (ADBI)) |
| Abstract: | This paper reviews economic development and the regulatory environment of audiovisual services in the Republic of Korea (hereafter, Korea). The paper specifically examines motion pictures and broadcasting, and discusses what drives or hinders the sector’s trade potential. Korean motion pictures have benefited greatly from the elimination of government censorship, substantial investment capital, especially from the 1990s, and frequent invitations from prestigious international movie festivals. The trade potential of Korean audiovisual services depends on whether Korean audiovisual services providers create high quality content that can be shared locally and/or universally. As recently proven in Korea’s film industry, Korean content does have trade potential. The most important prerequisite for high quality content is the generation of creative ideas, which would be hindered by strong government censorship and controls. The restrictive Korean broadcasting sector should learn from the success of the Korean film industry in this regard. |
| Keywords: | audiovisual services, Korea, Services Trade, film industry, broadcasting sector |
| JEL: | O14 O24 O53 |
| Date: | 2012–04 |
| URL: | http://d.repec.org/n?u=RePEc:eab:develo:23297&r=cul |
| By: | Sara Santos Cruz (CEF.UP, Faculdade de Economia, Universidade do Porto); Aurora A.C. Teixeira (CEF.UP, Faculdade de Economia, Universidade do Porto; INESC Tec; OBEGEF) |
| Abstract: | Creative industries and creative occupations have increasingly been attracting attention in recent years, in both policy and academic fields. Not enough literature has yet been produced on the topic to overcome the fuzziness and all-embracing definitions of the creative class, the lack of objectivity in the criteria to select who is creative or not, the limitations of data used and problems of highly aggregated occupational categories which jeopardize an accurate analysis of these workers. This paper presents a survey and mapping of the main methods for measuring the creative class and industries and proposes a combined industry and occupation-based approach for estimating the scale of creative employment in Portugal. Using micro data from 2009 Quadros de Pessoal database, which encompasses over 3 million workers, we found that creative employment in Portugal amounts to 6.9% of total employment (i.e., 215525 workers), with the most important creative sectors being ‘advertising and marketing’ (1.7%), ‘software publishing/computer programming and consultancy’ (1.8%), and ‘research and development’ (0.9%). Additionally, we found that most creative employees (60%) work in non-core creative sectors, that is, Portuguese creative workers are highly dispersed across all the sectors of the economy, particularly those considered non-creative, such as the manufacturing and the services sectors. |
| Keywords: | Creative class; Occupations; Industries; Measurement; Portugal |
| JEL: | L80 C81 |
| Date: | 2012–04 |
| URL: | http://d.repec.org/n?u=RePEc:por:fepwps:455&r=cul |
| By: | Prokic-Breuer, Tijana |
| Abstract: | -- |
| Date: | 2011 |
| URL: | http://d.repec.org/n?u=RePEc:zbw:wzbdds:spi2011403&r=cul |