Pub Date : 2021-02-26DOI: 10.1108/AAM-09-2020-0041
Arno van der Hoeven, Adam Behr, C. Hamilton, M. Mulder, Patrycja Rozbicka
PurposeThis paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work.Design/methodology/approachThe authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved.FindingsThe authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies functionPractical implicationsFor cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches to measuring live music activities.Originality/valueWhile the number of studies measuring live music's impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.
{"title":"1-2-3-4! Measuring the values of live music: methods, models and motivations","authors":"Arno van der Hoeven, Adam Behr, C. Hamilton, M. Mulder, Patrycja Rozbicka","doi":"10.1108/AAM-09-2020-0041","DOIUrl":"https://doi.org/10.1108/AAM-09-2020-0041","url":null,"abstract":"PurposeThis paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work.Design/methodology/approachThe authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved.FindingsThe authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies functionPractical implicationsFor cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches to measuring live music activities.Originality/valueWhile the number of studies measuring live music's impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44835506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1108/AAM-01-2020-0001
Saara Moisio
PurposeThis article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.Design/methodology/approachThe study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.FindingsThe analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.Originality/valueConcentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.
{"title":"Expectation of being affected: an enactive perspective of spectators' expectations of contemporary dance","authors":"Saara Moisio","doi":"10.1108/AAM-01-2020-0001","DOIUrl":"https://doi.org/10.1108/AAM-01-2020-0001","url":null,"abstract":"PurposeThis article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.Design/methodology/approachThe study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.FindingsThe analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.Originality/valueConcentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45343465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.1108/aam-09-2020-0042
Louise Barrière
PurposeLive music events have recently become more and more aware of the necessity to fight against gendered violence. In the meantime, research on gendered violence at live music events is also gaining a growing interest. Ladyfests and other punk-inspired queer and feminist do-it-yourself music festivals have often been presented as “safe spaces”, including in academic research. Yet, the exact goals and modalities of enactment of such safe spaces have mostly been overlooked. In this article, the author proposes to bridge this gap.Design/methodology/approachIn this article, the author relies on two sources of information: the first one is documentary and the second is ethnographical. The author first considers the festivals archives (flyers, presentation texts, programs booklets, websites and so one) to analyze the identities and goals of the festivals (“who were are” and “what we aim to do”). Crossing these sources of information with ethnographical fieldwork in 10 Ladyfests that happened in France and Germany between 2017 and 2019, the author observed the measures taken to reach such goals (“how we do it”).FindingsThe author begins with detailing the functions of safer spaces policies and shows that the festivals position themselves as transformative forces toward a safer nightlife. Then, the author introduces the means established by the festivals to enact their safer space policies. The author specifically underpins the crucial role of developing bystander intervention as well as self-managed security teams. Finally, the author sheds light on the limits of the safer spaces policies and posits that creating a safer environment demands a constant hard work to keep patriarchal structures away.Originality/valueVery few research studies have focused on live music, gendered violence and safe spaces. With this article, the author aims to contribute to the growing interest that these topics have gained in the last few years, by looking at an innovative feminist live music scene.
{"title":"“Safer spaces for everyone”? The Ladyfest scene as an innovative field for the fight against gendered violence in the live music industry","authors":"Louise Barrière","doi":"10.1108/aam-09-2020-0042","DOIUrl":"https://doi.org/10.1108/aam-09-2020-0042","url":null,"abstract":"PurposeLive music events have recently become more and more aware of the necessity to fight against gendered violence. In the meantime, research on gendered violence at live music events is also gaining a growing interest. Ladyfests and other punk-inspired queer and feminist do-it-yourself music festivals have often been presented as “safe spaces”, including in academic research. Yet, the exact goals and modalities of enactment of such safe spaces have mostly been overlooked. In this article, the author proposes to bridge this gap.Design/methodology/approachIn this article, the author relies on two sources of information: the first one is documentary and the second is ethnographical. The author first considers the festivals archives (flyers, presentation texts, programs booklets, websites and so one) to analyze the identities and goals of the festivals (“who were are” and “what we aim to do”). Crossing these sources of information with ethnographical fieldwork in 10 Ladyfests that happened in France and Germany between 2017 and 2019, the author observed the measures taken to reach such goals (“how we do it”).FindingsThe author begins with detailing the functions of safer spaces policies and shows that the festivals position themselves as transformative forces toward a safer nightlife. Then, the author introduces the means established by the festivals to enact their safer space policies. The author specifically underpins the crucial role of developing bystander intervention as well as self-managed security teams. Finally, the author sheds light on the limits of the safer spaces policies and posits that creating a safer environment demands a constant hard work to keep patriarchal structures away.Originality/valueVery few research studies have focused on live music, gendered violence and safe spaces. With this article, the author aims to contribute to the growing interest that these topics have gained in the last few years, by looking at an innovative feminist live music scene.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42244143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-27DOI: 10.1108/aam-05-2019-0018
Sunghan Ryu
PurposeThis study aims to identify the factors that influence box office performance in the specific context of the adaptation of science fiction (SF) to film in Hollywood.Design/methodology/approachFifty-one film adaptation cases were collected and empirically analyzed with two-stage least-squares (2SLS) regression.FindingsEmpirical analysis demonstrates that the adaptation of the title, the popularity of the original novel and the director's experience in film adaptation have significant impacts on box office performance.Research limitations/implicationsThe study contributes to the literature by bridging the gap between two separate streams of the research literature on film performance and film adaptation. Moreover, the study has extended the literature on the prediction of film performance by examining important factors in the special context of SF film adaptation.Practical implicationsIn the case of film adaptation, recruiting an experienced director will be a good choice. Author power is also required for attracting more investment and increasing audience share in the short term. From a marketing perspective, pointing out in the title that the film is an adaptation of an original novel would be an advantageous approach.Originality/valueThis is among the pioneering research related to the effects of film adaptation on box office performance. The approach and results of this study direct future studies in many aspects.
{"title":"How does film adaptation influence box office performance? An empirical analysis of science fiction films in Hollywood","authors":"Sunghan Ryu","doi":"10.1108/aam-05-2019-0018","DOIUrl":"https://doi.org/10.1108/aam-05-2019-0018","url":null,"abstract":"PurposeThis study aims to identify the factors that influence box office performance in the specific context of the adaptation of science fiction (SF) to film in Hollywood.Design/methodology/approachFifty-one film adaptation cases were collected and empirically analyzed with two-stage least-squares (2SLS) regression.FindingsEmpirical analysis demonstrates that the adaptation of the title, the popularity of the original novel and the director's experience in film adaptation have significant impacts on box office performance.Research limitations/implicationsThe study contributes to the literature by bridging the gap between two separate streams of the research literature on film performance and film adaptation. Moreover, the study has extended the literature on the prediction of film performance by examining important factors in the special context of SF film adaptation.Practical implicationsIn the case of film adaptation, recruiting an experienced director will be a good choice. Author power is also required for attracting more investment and increasing audience share in the short term. From a marketing perspective, pointing out in the title that the film is an adaptation of an original novel would be an advantageous approach.Originality/valueThis is among the pioneering research related to the effects of film adaptation on box office performance. The approach and results of this study direct future studies in many aspects.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/aam-05-2019-0018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43654955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-22DOI: 10.1108/AAM-03-2020-0006
Mona Jami Pour, S. Sadeghi, E. Yahyaei
PurposeAdvergame as a new approach in advertising has recently attracted the attention of many researchers and practitioners. Despite the growing investment, managers still do not have a comprehensive understanding of the success factors of advergames. To the authors’ knowledge, there are no studies that address success factors in advergames. The purpose of this paper is to comprehensively explore the success factors of advergames to enhance the markets' insight regarding the implementation of advergames.Design/methodology/approachThis study investigates the success factors of advergames implementation using the mixed-method approach. For this purpose, along with a literature review, some semistructured interviews with experts were conducted and the obtained data were analyzed using the thematic analysis. Then a survey was conducted to validate the extracted factors and criteria. The quantitative data were analyzed by Student t-test and factor analysis.FindingsThe results indicated that the main success factors of advergames are game design factors, brand/product-related factors, players' personality-related factors and technical factors. The rank orders of the mentioned factors and their subcriteria were identified using their respective variance.Practical implicationsIn advergame initiatives, technical issues must be considered along with game design factors, brand/product-related factors and players' personality-related factors simultaneously. The findings can assist managers to understand all aspects of advergames adaptation and assess the weaknesses and strengths of adervgame projects.Originality/valueAlthough the intersection between digital games and advertising has had a growing trend in both practical and academic contexts, there are few studies on what factors must be considered during advergames development and implementation. The main contribution of this study is to explore the important aspects of advergames success and their priorities. The findings provide a comprehensive insight on the interdisciplinary aspects of advergames.
{"title":"Identifying the success factors of advergames: a mixed-method approach","authors":"Mona Jami Pour, S. Sadeghi, E. Yahyaei","doi":"10.1108/AAM-03-2020-0006","DOIUrl":"https://doi.org/10.1108/AAM-03-2020-0006","url":null,"abstract":"PurposeAdvergame as a new approach in advertising has recently attracted the attention of many researchers and practitioners. Despite the growing investment, managers still do not have a comprehensive understanding of the success factors of advergames. To the authors’ knowledge, there are no studies that address success factors in advergames. The purpose of this paper is to comprehensively explore the success factors of advergames to enhance the markets' insight regarding the implementation of advergames.Design/methodology/approachThis study investigates the success factors of advergames implementation using the mixed-method approach. For this purpose, along with a literature review, some semistructured interviews with experts were conducted and the obtained data were analyzed using the thematic analysis. Then a survey was conducted to validate the extracted factors and criteria. The quantitative data were analyzed by Student t-test and factor analysis.FindingsThe results indicated that the main success factors of advergames are game design factors, brand/product-related factors, players' personality-related factors and technical factors. The rank orders of the mentioned factors and their subcriteria were identified using their respective variance.Practical implicationsIn advergame initiatives, technical issues must be considered along with game design factors, brand/product-related factors and players' personality-related factors simultaneously. The findings can assist managers to understand all aspects of advergames adaptation and assess the weaknesses and strengths of adervgame projects.Originality/valueAlthough the intersection between digital games and advertising has had a growing trend in both practical and academic contexts, there are few studies on what factors must be considered during advergames development and implementation. The main contribution of this study is to explore the important aspects of advergames success and their priorities. The findings provide a comprehensive insight on the interdisciplinary aspects of advergames.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2020-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-03-2020-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42118965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-17DOI: 10.1108/aam-01-2020-0003
Özge Gökbulut Özdemir, I. Fillis, A. Collins
PurposeThe aim of the study is to gain insight into the link between art and tourism from a value co-creation perspective. This link is discussed with the help of the arts marketing, art tourism and value co-creation literature. The role of art in tourism and the role of cultural places in arts marketing are also evaluated.Design/methodology/approachFocussing on two cultural heritage sites in Turkey, Zeugma and Göbeklitepe, a qualitative study was undertaken in order to determine the value creation and co-creation processes occurring from the art–tourism contexts based on comparative case study analysis. In-depth semi-structured interviews were conducted with three groups of actors. Motivation, expectation and stakeholder experiences were the main themes explored.FindingsThe findings of the study relate to the role of the co-creation process. Marketing art in alternative places creates value in closing the gap between art and society through the use of related fields such as culture and heritage. In terms of cultural value, the paper identifies the reconnection with cultural heritage through contemporary art. This is a way of looking at culture and its concepts in different time and place dimensions which make visitors more engaged with culture and its contemporary reflection through art.Research limitations/implicationsAlthough the research focusses on two Turkish art and tourism cases, future research can be extended to other countries, including the assessment of the longer-term role of similar activities.Practical implicationsAs art is a subset of culture, the people who are interested in culture and history also have the potential to be interested in art. While art impacts on cultural tourism, cultural heritage and tourism work as arts marketing tools in a co-supporting way. The coming together of art and culture has societal benefits. There are lessons for practice such as the opening of a space for contemporary art in cultural heritage museums in order to promote art to society. The museum audience is an important potential for the future of art from a market generation perspective.Originality/valueThe study contribute to arts tourism, arts marketing and value co-creation in theory and practice.
{"title":"Developing insights into the link between art and tourism through the value co-creation lens","authors":"Özge Gökbulut Özdemir, I. Fillis, A. Collins","doi":"10.1108/aam-01-2020-0003","DOIUrl":"https://doi.org/10.1108/aam-01-2020-0003","url":null,"abstract":"PurposeThe aim of the study is to gain insight into the link between art and tourism from a value co-creation perspective. This link is discussed with the help of the arts marketing, art tourism and value co-creation literature. The role of art in tourism and the role of cultural places in arts marketing are also evaluated.Design/methodology/approachFocussing on two cultural heritage sites in Turkey, Zeugma and Göbeklitepe, a qualitative study was undertaken in order to determine the value creation and co-creation processes occurring from the art–tourism contexts based on comparative case study analysis. In-depth semi-structured interviews were conducted with three groups of actors. Motivation, expectation and stakeholder experiences were the main themes explored.FindingsThe findings of the study relate to the role of the co-creation process. Marketing art in alternative places creates value in closing the gap between art and society through the use of related fields such as culture and heritage. In terms of cultural value, the paper identifies the reconnection with cultural heritage through contemporary art. This is a way of looking at culture and its concepts in different time and place dimensions which make visitors more engaged with culture and its contemporary reflection through art.Research limitations/implicationsAlthough the research focusses on two Turkish art and tourism cases, future research can be extended to other countries, including the assessment of the longer-term role of similar activities.Practical implicationsAs art is a subset of culture, the people who are interested in culture and history also have the potential to be interested in art. While art impacts on cultural tourism, cultural heritage and tourism work as arts marketing tools in a co-supporting way. The coming together of art and culture has societal benefits. There are lessons for practice such as the opening of a space for contemporary art in cultural heritage museums in order to promote art to society. The museum audience is an important potential for the future of art from a market generation perspective.Originality/valueThe study contribute to arts tourism, arts marketing and value co-creation in theory and practice.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2020-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/aam-01-2020-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-15DOI: 10.1108/AAM-04-2020-0007
Michael Spanu, N. Sommet, Jean-Marie Seca
PurposeThe consumption of music performed in different languages represents a significant aspect of the contemporary cultural experience. This phenomenon questions how different languages mediate music consumption in specific national contexts. In this paper, the authors investigate the case of live music consumption in France.Design/methodology/approachThe authors surveyed 428 persons who saw 159 artists either performing in French or in English in 46 locations around Paris, France. The authors tested the effect of the language of the concert on three dimensions of music consumption: singing in unison, appraisal of the lyrics and dancing.FindingsMultilevel analysis revealed that English was positively associated with dancing, whereas French was positively associated with the appraisal of the lyrics. The authors found no evidence that the language of the concert was associated with differences in singing in unison.Originality/valueResults are discussed with respect to language diversity in the context of globalised popular music consumption.
{"title":"The consumption of live music in different languages: a quantitative approach","authors":"Michael Spanu, N. Sommet, Jean-Marie Seca","doi":"10.1108/AAM-04-2020-0007","DOIUrl":"https://doi.org/10.1108/AAM-04-2020-0007","url":null,"abstract":"PurposeThe consumption of music performed in different languages represents a significant aspect of the contemporary cultural experience. This phenomenon questions how different languages mediate music consumption in specific national contexts. In this paper, the authors investigate the case of live music consumption in France.Design/methodology/approachThe authors surveyed 428 persons who saw 159 artists either performing in French or in English in 46 locations around Paris, France. The authors tested the effect of the language of the concert on three dimensions of music consumption: singing in unison, appraisal of the lyrics and dancing.FindingsMultilevel analysis revealed that English was positively associated with dancing, whereas French was positively associated with the appraisal of the lyrics. The authors found no evidence that the language of the concert was associated with differences in singing in unison.Originality/valueResults are discussed with respect to language diversity in the context of globalised popular music consumption.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-04-2020-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45450238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-08DOI: 10.1108/aam-10-2019-0030
A. Radermecker
PurposeTo analyze the market reception of multi-authored works of art through the lens of collaborative old master paintings (“formal/prestige collaboration”). This paper tests whether multi-authored attribution strategies (i.e. naming two artists as brand names) affect buyers' willingness to pay differently from single-authored works in the auction market.Design/methodology/approachThis case study focuses on collaborative paintings by Flemish masters, based on a data set comprising 11,630 single-authored and collaborative paintings auctioned between 1946 and 2015. Hedonic regressions have been employed to test whether or not co-branded artworks are differently valued by buyers and how the reputation of each artist might influence valuation.FindingsDespite the opportunity for buyers to purchase one artwork with two brand names, this study reveals that the average value of collaborative paintings is statistically lower than that of single-authored paintings. This is especially true when a reputed master was involved in the collaboration. The present findings suggest that the valuable characteristics of formal collaborations (i.e. double brand name, dual authorship and reputation, high-quality standards) are no longer perceived and valued as such by buyers, and that co-branding can affect the artist brand equity because of a contagion effect. We argue that integral authorship is more valued than partial authorship, suggesting that the myth of the artist as a lone genius is still well-anchored in purchasing habits.Research limitations/implicationsPrestige collaborations are a very particular form of early co-branding in the art world, with limited data available. Further research should consider larger samples to reiterate the analysis on other collaboration forms in order to challenge the current findings.Practical implicationsResearchers and living artists should be aware that brand building and co-branding are marketing strategies that may generate negative effects on prices in the art market. The perceived and market value of co-branded works are time-varying, and depends on both the context of reception of these works and the reputation of the artists at time t.Originality/valueThis market segment has never been considered in art market studies, although formal collaboration is one of the earliest documented forms of co-branding in the art world. This paper provides new empirical evidence from the auction market, based on buyers' willingness to pay, and it further highlights the reception of multi-authored art objects in Western art markets that particularly value individual creators.
{"title":"Buy one painting, get two names. On the valuation of artist collaborations in the art market","authors":"A. Radermecker","doi":"10.1108/aam-10-2019-0030","DOIUrl":"https://doi.org/10.1108/aam-10-2019-0030","url":null,"abstract":"PurposeTo analyze the market reception of multi-authored works of art through the lens of collaborative old master paintings (“formal/prestige collaboration”). This paper tests whether multi-authored attribution strategies (i.e. naming two artists as brand names) affect buyers' willingness to pay differently from single-authored works in the auction market.Design/methodology/approachThis case study focuses on collaborative paintings by Flemish masters, based on a data set comprising 11,630 single-authored and collaborative paintings auctioned between 1946 and 2015. Hedonic regressions have been employed to test whether or not co-branded artworks are differently valued by buyers and how the reputation of each artist might influence valuation.FindingsDespite the opportunity for buyers to purchase one artwork with two brand names, this study reveals that the average value of collaborative paintings is statistically lower than that of single-authored paintings. This is especially true when a reputed master was involved in the collaboration. The present findings suggest that the valuable characteristics of formal collaborations (i.e. double brand name, dual authorship and reputation, high-quality standards) are no longer perceived and valued as such by buyers, and that co-branding can affect the artist brand equity because of a contagion effect. We argue that integral authorship is more valued than partial authorship, suggesting that the myth of the artist as a lone genius is still well-anchored in purchasing habits.Research limitations/implicationsPrestige collaborations are a very particular form of early co-branding in the art world, with limited data available. Further research should consider larger samples to reiterate the analysis on other collaboration forms in order to challenge the current findings.Practical implicationsResearchers and living artists should be aware that brand building and co-branding are marketing strategies that may generate negative effects on prices in the art market. The perceived and market value of co-branded works are time-varying, and depends on both the context of reception of these works and the reputation of the artists at time t.Originality/valueThis market segment has never been considered in art market studies, although formal collaboration is one of the earliest documented forms of co-branding in the art world. This paper provides new empirical evidence from the auction market, based on buyers' willingness to pay, and it further highlights the reception of multi-authored art objects in Western art markets that particularly value individual creators.","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2020-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/aam-10-2019-0030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45836910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-07DOI: 10.1108/AAM-01-2019-0006
Chinedu James Obiegbu, Gretchen Larsen, N. Ellis
Purpose The purpose of this paper is to explore how the act of expressing criticism against a music brand fits with the identity and practices associated with being a loyal fan of that brand. Design/methodology/approach Drawing on insights from theories of brand loyalty and fandom, this interpretive inquiry makes use of data from an online forum dedicated to the band, U2, and interviews with forum members. A combination of online ethnography and discourse analysis is employed. Findings The findings reveal how interpretations of the act of expressing criticism within a space that ostensibly functions as a place to celebrate all things U2 related, shape the construction of loyalty to the b(r)and in diverse ways. The apparent in-group tensions between being loyal and being critical pose a challenge to the taken for granted nature of brand loyalty and fandom, highlighting the nuanced ways with which they manifest. Originality/value By examining the role of criticality within otherwise loyal spaces, the authors contribute to brand loyalty theory by revealing the malleability of the concept, as meaning is constantly being reshaped depending on individual realities.
{"title":"The critical music fan: the role of criticality in collective constructions of brand loyalty","authors":"Chinedu James Obiegbu, Gretchen Larsen, N. Ellis","doi":"10.1108/AAM-01-2019-0006","DOIUrl":"https://doi.org/10.1108/AAM-01-2019-0006","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to explore how the act of expressing criticism against a music brand fits with the identity and practices associated with being a loyal fan of that brand.\u0000\u0000\u0000Design/methodology/approach\u0000Drawing on insights from theories of brand loyalty and fandom, this interpretive inquiry makes use of data from an online forum dedicated to the band, U2, and interviews with forum members. A combination of online ethnography and discourse analysis is employed.\u0000\u0000\u0000Findings\u0000The findings reveal how interpretations of the act of expressing criticism within a space that ostensibly functions as a place to celebrate all things U2 related, shape the construction of loyalty to the b(r)and in diverse ways. The apparent in-group tensions between being loyal and being critical pose a challenge to the taken for granted nature of brand loyalty and fandom, highlighting the nuanced ways with which they manifest.\u0000\u0000\u0000Originality/value\u0000By examining the role of criticality within otherwise loyal spaces, the authors contribute to brand loyalty theory by revealing the malleability of the concept, as meaning is constantly being reshaped depending on individual realities.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-01-2019-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48929522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-07DOI: 10.1108/AAM-01-2019-0005
A. Borchi
Purpose The purpose of this paper is to understand the concept of cultural value promoted by the Italian government between 2008 and 2018. Furthermore, it aims at setting the scope for further research and debate on the issue of cultural value in Italian cultural policy by questioning market-driven understanding of value. Design/methodology/approach In order to do so, it examines the rhetoric of Italian policymakers, with a particular focus on the people who have covered the role of Ministry for Cultural Assets and Activities over this 10-year span, and the policies they have implemented. The various nuances of the concept of valorizzazione are studied by analysing different pathways employed by the Italian government and the values underpinning them, with a particular focus on the abandonment of heritage sites. Findings What emerges from this research is the centrality of the economic value of culture; however, the economic impact of Italian cultural assets is always presented as a potential that has to be unlocked by implementing policies of valorizzazione, a term that has a double meaning of promotion and exploitation (Belfiore, 2006). Originality/value This paper presents an original approach to understanding the formation and promotion of cultural value at the level of governmental policy in the context of contemporary cultural policy in Italy. In particular, it evidences how the centrality of the economic value of culture has remained unscathed despite the rapid change of governments that has characterised Italian politics in the last 10 years.
{"title":"Oil, gold, stones: cultural value in Italian cultural policy","authors":"A. Borchi","doi":"10.1108/AAM-01-2019-0005","DOIUrl":"https://doi.org/10.1108/AAM-01-2019-0005","url":null,"abstract":"\u0000Purpose\u0000The purpose of this paper is to understand the concept of cultural value promoted by the Italian government between 2008 and 2018. Furthermore, it aims at setting the scope for further research and debate on the issue of cultural value in Italian cultural policy by questioning market-driven understanding of value.\u0000\u0000\u0000Design/methodology/approach\u0000In order to do so, it examines the rhetoric of Italian policymakers, with a particular focus on the people who have covered the role of Ministry for Cultural Assets and Activities over this 10-year span, and the policies they have implemented. The various nuances of the concept of valorizzazione are studied by analysing different pathways employed by the Italian government and the values underpinning them, with a particular focus on the abandonment of heritage sites.\u0000\u0000\u0000Findings\u0000What emerges from this research is the centrality of the economic value of culture; however, the economic impact of Italian cultural assets is always presented as a potential that has to be unlocked by implementing policies of valorizzazione, a term that has a double meaning of promotion and exploitation (Belfiore, 2006).\u0000\u0000\u0000Originality/value\u0000This paper presents an original approach to understanding the formation and promotion of cultural value at the level of governmental policy in the context of contemporary cultural policy in Italy. In particular, it evidences how the centrality of the economic value of culture has remained unscathed despite the rapid change of governments that has characterised Italian politics in the last 10 years.\u0000","PeriodicalId":42080,"journal":{"name":"Arts and the Market","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1108/AAM-01-2019-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44535747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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