Cultural Industries
Universiteit van Amsterdam, 2020-2021
This document contains a summary of ALL mandatory articles for the 2020-2021 edition of
the course Cultural Industries (6013B0502Y) at the Universiteit van Amsterdam, which is
part of the minors in Cultuurmanagement and Business Administration: Managing Strategy
and Marketing, as well as the Bachelor’s programme Business Administration.
All summaries include the most important information from the articles, like the methodology
and findings. The APA notation for each article is also included, because the practice exam
suggests you need to recognize the article’s authors. For a list of all included articles, please
refer to the table of content on the next page. In accordance with the length and content of
the articles, some summaries may be slightly shorter or longer than others. Most summaries
are about 0.75 page in length (font size 11).
Please note: although I have tried to make the summaries as comprehensive as
possible, they are still summaries. I recommend also reading the articles and watching the
knowledge clips for yourself and using this document as a way to refresh your memory.
If you find a mistake in the document, or you have any other question regarding it, please
don’t hesitate to send me an email: .
Good luck with studying for the exam! If you feel like this document has helped you with your
studying, please know a nice review on Stuvia is always appreciated :).
David
PS: If you are following the minor in Business Administration, you might be pleased to know
that I also offer summaries for the courses Marketing and Retail Marketing. Please visit my
Stuvia profile to see more: https://www.stuvia.nl/user/davidschouten.
Summary author: David Schouten ()
Version: 1.0, published October 14, 2020
Course: Cultural Industries (6013B0502Y)
Teacher: Monika Kackovic & Jan de Groot
Study programmes: BSc. Business Administration &
Minor Cultuurmanagement &
Minor Business Administration: Managing Strategy and Marketing
1
,Table of Content
Week 1: Analyzing the creative and cultural industries 3
Modeling the cultural industries 3
An individual business model in the making: A chef’s quest for creative freedom 4
Surviving in times of turmoil: Adaptation of the Théâtre Les Deux Mondes business
model 4
Week 2: CCI & organizational design 6
Balancing act: Learning from organizing practices in cultural industries 6
Beyond Networks and Hierarchies: Latent Organizations in the U.K. Television Industry 7
Networks and social capital in the UK television industry: The weakness of weak ties 7
Capabilities in motion: New organizational forms and the reshaping of the Hollywood
movie industry 8
Week 3: CCI & marketing 10
Strategic Orientation and Firm Performance in an Artistic Environment 10
Understanding the Bond of Identification: An Investigation of Its Correlates among Art
Museum Members 10
Robust Identities or Nonentities? Typecasting in the Feature-Film Labor Market 11
Third-party signals and sales to expert-agent buyers: Quality indicators in the
contemporary visual arts market 12
Week 4: Midterm week 13
Week 5: CCI & technological change 14
Should You Invest in the Long Tail? 14
Web-based Experiments for the Study of Collective Social Dynamics in Cultural Markets 15
When market information constitutes fields: Sensemaking of markets in the commercial
music industry 16
Week 6: CCI & competitive processes 17
Coping with uncertainty, abundance and strife: Decision-making processes of Dutch
acquisition editors in the global market for translations 17
Why some Awards are more Effective Signals of Quality than Others: A study of Movie
Awards 18
Avoiding ‘StarWars’ – Celebrity Creation as Media Strategy 19
Week 7: CCI & international business 20
Global parents, local partners: A value-chain analysis of collaborative strategies of media
firms in India. 20
Makeover On the Move: Global Television and Programme Formats 20
Banal cosmopolitanism and The Lord of the Rings: The limited role of national
differences in global media consumption 21
Reinterpretation of Cultural Imperialism: Emerging Domestic Market vs Continuing US
Dominance 22
2
, Week 1: Analyzing the creative and cultural industries
Modeling the cultural industries
Throsby, D (2008). Modeling the cultural industries. International Journal of Cultural Policy, 14(3),
pp. 217–232.
Cultural goods and services can be seen as a subset of a wider category of goods
that can be called creative goods and services. The latter are simply products that require
some creativity, while the former satisfies other criteria which enables them to be labeled
‘cultural’.
Six models used to categorise cultural industries are described: UK-DCMS, Symbolic
Texts Model, Concentric Circles Model, WIPO Copyright Model, UNESCO Institute for
Statistics (UIS) Model and Americans for the Arts Model.
Symbolic Texts looks at the different power dynamics of culture in regard to social
class, gender, and race. The Concentric Circles model says that the more pronounced the
cultural content of a particular good or service, the stronger is the claim to inclusion of the
industry producing it. The WIPO Copyright Model is based on industries involved directly or
indirectly in the creation of copyrighted works.
The models all include different combinations of industries and their estimations of
the cultural industries economic output therefore vary greatly. The WIPO model is the most
wide-ranging, the concentric circle model is the most narrowly-defined model of the three.
Six approaches can be used to analyse the cultural industries
● Industrial organisation theory
Focusses on standard economic variables, market concentration, exit- and
enter barriers and degree of competition. Most relevant for models aimed at
commercial production of goods and services
● Value-chain analysis
Assumes a production chain with value-adding steps, used to analyse a firm’s
performance in different (value chain) stages
Creating → Production → Dissemination → Exhibition → Consumption
● Inter-industry analysis
Focusses on the ways in which output is produced and distributed in the
economy. Used to evaluate the economic impact of cultural policy
● Locational analysis
Firms in certain (cultural) industries tend to cluster together in urban areas
These industries often benefit from being close to each other (e.g Hollywood).
Used by governments to attract firms and develop touristic or cultural industry
clusters
● Contract theory and property rights
Cultural contractual arrangements are often difficult because of “Nobody
knows” (uncertainty of demand); “Art for art’s sake” (irrational labour market);
“Infinite variety” (all products are more or less differentiated); and “Durability”
(ability to yield profit over a long time). Used to create ‘optimal’ contracts.
3
Universiteit van Amsterdam, 2020-2021
This document contains a summary of ALL mandatory articles for the 2020-2021 edition of
the course Cultural Industries (6013B0502Y) at the Universiteit van Amsterdam, which is
part of the minors in Cultuurmanagement and Business Administration: Managing Strategy
and Marketing, as well as the Bachelor’s programme Business Administration.
All summaries include the most important information from the articles, like the methodology
and findings. The APA notation for each article is also included, because the practice exam
suggests you need to recognize the article’s authors. For a list of all included articles, please
refer to the table of content on the next page. In accordance with the length and content of
the articles, some summaries may be slightly shorter or longer than others. Most summaries
are about 0.75 page in length (font size 11).
Please note: although I have tried to make the summaries as comprehensive as
possible, they are still summaries. I recommend also reading the articles and watching the
knowledge clips for yourself and using this document as a way to refresh your memory.
If you find a mistake in the document, or you have any other question regarding it, please
don’t hesitate to send me an email: .
Good luck with studying for the exam! If you feel like this document has helped you with your
studying, please know a nice review on Stuvia is always appreciated :).
David
PS: If you are following the minor in Business Administration, you might be pleased to know
that I also offer summaries for the courses Marketing and Retail Marketing. Please visit my
Stuvia profile to see more: https://www.stuvia.nl/user/davidschouten.
Summary author: David Schouten ()
Version: 1.0, published October 14, 2020
Course: Cultural Industries (6013B0502Y)
Teacher: Monika Kackovic & Jan de Groot
Study programmes: BSc. Business Administration &
Minor Cultuurmanagement &
Minor Business Administration: Managing Strategy and Marketing
1
,Table of Content
Week 1: Analyzing the creative and cultural industries 3
Modeling the cultural industries 3
An individual business model in the making: A chef’s quest for creative freedom 4
Surviving in times of turmoil: Adaptation of the Théâtre Les Deux Mondes business
model 4
Week 2: CCI & organizational design 6
Balancing act: Learning from organizing practices in cultural industries 6
Beyond Networks and Hierarchies: Latent Organizations in the U.K. Television Industry 7
Networks and social capital in the UK television industry: The weakness of weak ties 7
Capabilities in motion: New organizational forms and the reshaping of the Hollywood
movie industry 8
Week 3: CCI & marketing 10
Strategic Orientation and Firm Performance in an Artistic Environment 10
Understanding the Bond of Identification: An Investigation of Its Correlates among Art
Museum Members 10
Robust Identities or Nonentities? Typecasting in the Feature-Film Labor Market 11
Third-party signals and sales to expert-agent buyers: Quality indicators in the
contemporary visual arts market 12
Week 4: Midterm week 13
Week 5: CCI & technological change 14
Should You Invest in the Long Tail? 14
Web-based Experiments for the Study of Collective Social Dynamics in Cultural Markets 15
When market information constitutes fields: Sensemaking of markets in the commercial
music industry 16
Week 6: CCI & competitive processes 17
Coping with uncertainty, abundance and strife: Decision-making processes of Dutch
acquisition editors in the global market for translations 17
Why some Awards are more Effective Signals of Quality than Others: A study of Movie
Awards 18
Avoiding ‘StarWars’ – Celebrity Creation as Media Strategy 19
Week 7: CCI & international business 20
Global parents, local partners: A value-chain analysis of collaborative strategies of media
firms in India. 20
Makeover On the Move: Global Television and Programme Formats 20
Banal cosmopolitanism and The Lord of the Rings: The limited role of national
differences in global media consumption 21
Reinterpretation of Cultural Imperialism: Emerging Domestic Market vs Continuing US
Dominance 22
2
, Week 1: Analyzing the creative and cultural industries
Modeling the cultural industries
Throsby, D (2008). Modeling the cultural industries. International Journal of Cultural Policy, 14(3),
pp. 217–232.
Cultural goods and services can be seen as a subset of a wider category of goods
that can be called creative goods and services. The latter are simply products that require
some creativity, while the former satisfies other criteria which enables them to be labeled
‘cultural’.
Six models used to categorise cultural industries are described: UK-DCMS, Symbolic
Texts Model, Concentric Circles Model, WIPO Copyright Model, UNESCO Institute for
Statistics (UIS) Model and Americans for the Arts Model.
Symbolic Texts looks at the different power dynamics of culture in regard to social
class, gender, and race. The Concentric Circles model says that the more pronounced the
cultural content of a particular good or service, the stronger is the claim to inclusion of the
industry producing it. The WIPO Copyright Model is based on industries involved directly or
indirectly in the creation of copyrighted works.
The models all include different combinations of industries and their estimations of
the cultural industries economic output therefore vary greatly. The WIPO model is the most
wide-ranging, the concentric circle model is the most narrowly-defined model of the three.
Six approaches can be used to analyse the cultural industries
● Industrial organisation theory
Focusses on standard economic variables, market concentration, exit- and
enter barriers and degree of competition. Most relevant for models aimed at
commercial production of goods and services
● Value-chain analysis
Assumes a production chain with value-adding steps, used to analyse a firm’s
performance in different (value chain) stages
Creating → Production → Dissemination → Exhibition → Consumption
● Inter-industry analysis
Focusses on the ways in which output is produced and distributed in the
economy. Used to evaluate the economic impact of cultural policy
● Locational analysis
Firms in certain (cultural) industries tend to cluster together in urban areas
These industries often benefit from being close to each other (e.g Hollywood).
Used by governments to attract firms and develop touristic or cultural industry
clusters
● Contract theory and property rights
Cultural contractual arrangements are often difficult because of “Nobody
knows” (uncertainty of demand); “Art for art’s sake” (irrational labour market);
“Infinite variety” (all products are more or less differentiated); and “Durability”
(ability to yield profit over a long time). Used to create ‘optimal’ contracts.
3
