nep-cul New Economics Papers
on Cultural Economics
Issue of 2020‒02‒10
four papers chosen by
Roberto Zanola
Università degli Studi del Piemonte Orientale

  1. Creative Cultural Industries: A Great Economic Capital for the Social, Political and Economic Development of Africa By Larson, Sara; Hugo, James
  3. Creative industries and economic performance: Should South Africa go to the movies? By Andrew Phiri
  4. "Piracy as promotion? The Importance of Diffusion in the Music Industry" By Daniel Marszalec; María Martín-Rodríguez

  1. By: Larson, Sara; Hugo, James
    Abstract: The cultural and artistic productions of Africa have various dimensions that emphasize the pivotal role art plays in the development of societies. This justifies why art and societal living and progression are intertwined. This article explains the influence of art in the social, political, and economic development in African societies. African art is related to the development of the total life of Africans. This includes the dressing styles, eating habits, values and the norms in the African society. It also embraces the use of art and our cultural heritage in addressing the social problems faced by the ethnic societies in the African continent. Many modern societies in Africa are faced with the challenge of teenage pregnancy, environmental pollution and other forms of social vices. Strategies and solutions to these staggering problems can be found in the sound values, norms, belief systems and practices in Africa. For instance, many scholars in African studies and cultures are calling for a re-visitation and revival of the indigenous practices of initiation rites for the youth that ensured that moral chasteness was maintained by the youth, including the abstinence from pre-marital sex and all other forms of social vices associated with the youth today. It was the measure put in place by the elderly members of the societies in introducing the mantle of leadership to the youth. The initiation rites were platforms for keeping the youth abreast with their social duties as responsible adults.
    Date: 2019–07–15
  2. By: Yogyakarta, Perpustakaan STIPRAM; Indriani, Elda Fima
    Abstract: The heritage tourism is a special interest tour by seeing culture and local wisdom. Thailand is one of the countries in Southeast Asia that earned the nickname Thousand Pagoda and White Elephant. For a long time, Buddhists in Thailand thought that the white elephant was sacred. As well as having a variety of cultural heritage assets that are the main attraction for tourists, the city of Hat yai is a mainstay tourist destinations in Southern Thailand. In Hat Yai city there are cultural heritage assets, namely Hat yai municipal park, Wat Hat Yai Nai Buddhist temple, and Buddha Statue Wat Phranon Laem Pho. And the Thai tradition has a habit of promoting the subtle and avoid the rudeness because, smile is an important symbol of Thai culture.
    Date: 2019–12–16
  3. By: Andrew Phiri (Department of Economics, Nelson Mandela University)
    Abstract: Creative industries have been recently considered as a possible avenue for improving economic performance. Our study focuses on the film sector and its influence on the South African economic growth, per capita income and employment. Our autoregressive lag distributive (ARDL) estimates on a log-linearized endogenous growth model augmented with creative capital indicate that the production of movies has no significant effects on long-run GDP growth, per capita GDP and employment. We only find a short-run positive and significant influence of film production on per capita income. However, re-estimating the regressions with interactive terms between movie production and i) government spending ii) foreign direct investment, improve the significance of film regression coefficients which all turn positive and significant over the long-run equilibrium. Policy implications based on our empirical findings are discussed.
    Keywords: Creative sector; Film production; Economic activity; Autoregressive distributive lag (ARDL) model; South Africa.
    JEL: C32 C51 L82 O40 Z11
    Date: 2020–01
  4. By: Daniel Marszalec (Faculty of Economics, The University of Tokyo); María Martín-Rodríguez (Graduate Scho olofEconomics, Nagoya University)
    Abstract: We present a model of the music industry including artists, consumers and plat-forms. Artists are heterogeneous in their degree of ex-ante popularity and each one has two sources of income: songs and concerts. However, only for the unknown artists there is a link between the number of songs sold (diffusion) and the revenue from concerts. Copies of the songs of the artists are hosted in platforms. The for-prot platform chooses a positive price to sell high-quality copies, whereas the open platform offers low-quality copies for free. We compare the equilibrium outcomes and welfare with copyright and with piracy. We nd that the unknown artists prefer piracy more often than the famous artists, that the price charged by the for-prot platform does not necessarily decrease with piracy, and that piracy may damage the social welfare when the vertical differentiation is large enough.s

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