Journal of Cultural Economics最新文献

This study uses American Community Survey data to examine the impact of the Great Recession on college graduates majoring in the arts. Arts graduates play important roles in an economy, through both artistic creation and in careers outside of the arts. While the Great Recession took a significant toll on the US economy generally, arts majors faced additional vulnerabilities as industries that rely on discretionary spending, like the arts and entertainment, are especially hard hit in times of economic downturn. This paper assesses the impact of graduating during or shortly after the recession relative to graduating shortly before this period on educational choices, including choice of major, double majoring, and completing an advanced degree, and career outcomes, including employment status, type of employment, hours worked, and earnings, for college graduates majoring in the arts. Graduating before or after the recession is found to have a negative impact on the share of graduates majoring in traditional arts fields, but a positive impact on the share majoring in related creative fields. Using a difference-in-difference estimation strategy, relative to non-art college graduates, traditional arts majors graduating during or after the Great Recession are more likely to complete a double major, be self-employed, be unemployed, work longer hours, and earn less income than those graduating prior to the recession. These impacts are likely to have a negative effect on the pipeline of college-educated artists working in the arts into the future.

With the passage of time, celluloid film degrades and valuable film history is lost, resulting in loss of cultural history which contributes to the shared sense of community, identify, and place at a local and national level. Despite the growth in digitised services for accessing cultural resources, to date no economic valuation has been performed on digital local history resources which are accessible online. Despite the recent emergence of online portals for digital cultural services in many countries (such as virtual tours of art galleries and digitisation of cultural archives) a shift which has accelerated in response to the Covid-19 epidemic, there remains a majorliterature gap around the value of digital culture. Failure to account for the value of digital archives risks sub-optimal allocation of resources to accessing and preserving these aspects of local cultural history. In response, we performed the first contingent valuation study to estimate willingness to pay for a free online film archive portal containing historical film footage for localities throughout the United Kingdom. Users were willing to pay an average hypothetical subscription for digital archive film services of £38.52/annum. Non-users in the general population were asked their willingness to pay a hypothetical annual donation to maintain free public access (£4.68/annum on average). The results suggest that positive social value is gained from online access to digital archive film, and from knowing that the cultural heritage continues to be digitally accessible by the public for current and future generations. We outline how this evidence aligns with a theoretical framework of use and non-use value for digital goods and services extending beyond those who currently use the portal, to those introduced to it, and those in the general public who have never directly experienced the online archive service. We also report what we believe is the first application of Subjective Wellbeing analysis to engagement with a digital cultural service. The advantage of applying methods from economics to value cultural activities in monetary terms is that it makes emerging modes of digital cultural goods and services commensurable with other costs and benefits as applied to cultural policy and investment decisions, putting it on a level footing with physical cultural assets.