nep-cul New Economics Papers
on Cultural Economics
Issue of 2017‒04‒16
four papers chosen by
Roberto Zanola
Università degli Studi del Piemonte Orientale

  1. Development and Cooperation of China's Cultural Sectors: A Regional Approach By No, Su Yeon; Jung, Jihyun; Kang , Jungu; Oh, Jonghyuk; Kim , Hongwon; Lee, Hanna
  2. How Much Does Talent Matter? Evidence from the Brazilian Formal Cultural Industry By Ricardo da Silva Freguglia; Amir Borges Ferreira Neto
  3. The Political Legacy of Entertainment TV By Ruben Durante; Paolo Pinotti; Andrea Tesei
  4. How do creative genres emerge? The case of the Australian wine industry By Grégoire Croidieu; Charles-Clemens Rüling; Amélie Boutinot

  1. By: No, Su Yeon (Korea Institute for International Economic Policy); Jung, Jihyun (Korea Institute for International Economic Policy); Kang , Jungu (Korea Institute for International Economic Policy); Oh, Jonghyuk (Korea Institute for International Economic Policy); Kim , Hongwon (Korea Institute for International Economic Policy); Lee, Hanna (Korea Institute for International Economic Policy)
    Abstract: On the basis of a comparative analysis, the 31 provinces/municipal cities in China can be divided into four groups, namely, first-, second-, third-, and fourth-tier groups. The first-tier group (i.e. Beijing and Shanghai) has cultural sectors with excellent infrastructure and competitive sub-sectors, such as broadcasting, film, online games and animation. The second-tier group (i.e. Fujian and Sichuan) has a small number of competitive sub-sectors; at the same time, the local governments are actively fostering cultural industries. The third-tier group (i.e. Henan and Tianjin) requires a medium-term approach compared with the previous two groups. Finally, the fourth-tier group (i.e., Jilin and Neimenggu) requires a long-term monitoring and evaluation. In addition, the characteristics of each sub-sector should be carefully taken into account for local-level cooperation in the cultural sectors. In the film and online games sectors, a small number of major players are dominating the market or industry of the country. In such circumstances, regional grouping is not very useful. Strengthening cooperation with major regions, such as Beijing and Shanghai, seems to be a better approach for Korea. In contrast, the level of development of broadcasting or animation industries and markets relies heavily on the support from local governments or relevant companies. Therefore, facilitating cooperation with a number of regions is rec-ommended for these sectors.
    Keywords: China; Cultural Sectors
    Date: 2015–11–20
  2. By: Ricardo da Silva Freguglia (Federal University of Juiz de Fora, Department of Economics); Amir Borges Ferreira Neto (West Virginia University, Department of Economics)
    Abstract: The goal of this paper is to evaluate how much does talent – the individual non-observed characteristics – matter to explain the wage differences between workers from the cultural industry and workers from other formal industries in Brazil. To do so we use the data from 2003 to 2008 of the Rais-Migra – MTE, which is a true panel of formal workers from Brazil, and use fixed effects estimators to capture the talent measure and the Blinder (1973) and Oaxaca (1973) decomposition to seek for evidences of wage difference. The results imply that the talent is important in the determination of wages especially when considering formal workers in the cultural activities, occupations and workers in both cultural activities and occupation. The Oaxaca decomposition provides evidence that when considering talent, each of the groups paid their workers more per se, proving that not only the talent matter, but also that the formal cultural environment in Brazil positively discriminates their workers.
    Keywords: Wage Differentials, Cultural Industry, Talent, Fixed Effects, Brazil
    JEL: J31 Z11
    Date: 2017–04
  3. By: Ruben Durante; Paolo Pinotti; Andrea Tesei
    Abstract: We study the political impact of entertainment television in Italy exploiting the staggered introduction of Berlusconi's commercial TV network, Mediaset, in the early 1980s. We find that individuals with early access to Mediaset all-entertainment content were more likely to vote for Berlusconi's party in 1994, when he first ran for office. The effect persists for five elections and is driven by heavy TV viewers, namely the very young and the elders. Regarding possible mechanisms, we find that individuals exposed to entertainment TV as children were less cognitively sophisticated and civic-minded as adults, and ultimately more vulnerable to Berlusconi's populist rhetoric.
    Keywords: entertainment TV, voting, cognitive abilities, civic engagement
    JEL: L82 D72 Z13
    Date: 2017–04
  4. By: Grégoire Croidieu (GEM - Grenoble Ecole de Management - Grenoble École de Management (GEM)); Charles-Clemens Rüling (IREGE - Institut de Recherche en Gestion et en Economie - USMB [Université de Savoie] [Université de Chambéry] - Université Savoie Mont Blanc, GEM - Grenoble Ecole de Management - Grenoble École de Management (GEM)); Amélie Boutinot (ISG - International Business School [Paris], MC - Management et Comportement - Grenoble École de Management (GEM))
    Abstract: The present paper examines how a new, creative genre emerges out of a commodity-based industry. Building on the genre-emergence literature, the paper analyzes the Australian wine industry since the 1950s. Based on content analysis of a wide variety of sources, the study identifies four mechanisms that account for creative-genre emergence: shifting and layering of metrics, analogies with established creative industries and practices, resonance with society-level logics, and personification. The results contribute to the genre-emergence and creative-industries literatures.
    Keywords: genre emergence,boundary formation,creative industries,production-of-culture perspective,Australian wine
    Date: 2016

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