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  • 1
    Book
    Book
    Leiden ; Boston :Brill,
    ISBN: 978-90-04-52395-1
    Language: English
    Pages: XV, 435 Seiten : , Diagramme.
    Series Statement: Contemporary cinema Volume 9
    Series Statement: Contemporary cinema
    Parallel Title: Erscheint auch als
    Dissertation note: Habilitationsschrift Humboldt-Universität zu Berlin 2022
    RVK:
    RVK:
    RVK:
    Keywords: Hochschulschrift
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  • 2
    Online Resource
    Online Resource
    Cham : Springer International Publishing | Cham : Imprint: Palgrave Macmillan
    ISBN: 9783031335013
    Language: English
    Pages: 1 Online-Ressource(XIII, 190 p.)
    Edition: 1st ed. 2023.
    Parallel Title: Erscheint auch als
    Parallel Title: Erscheint auch als
    Parallel Title: Erscheint auch als
    Keywords: Communication and traffic. ; Motion picture industry. ; Television broadcasting. ; Motion pictures ; Economics. ; Culture.
    Abstract: Chapter 1. Introduction -- Chapter 2. Research Fundamentals of Global Value Chain Analysis -- Chapter 3. Introducing the Special Dynamics of the Culture Value Chain -- Chapter 4. Enrichment Economy -- Chapter 5. Source of Cultural Value-Added: Eventization -- Chapter 6. Rents and Redistribution in the Cultural Value Chain -- Chapter 7. Artistic Value, Ricardian Rent, and Power -- Chapter 8. Conclusion and Future Research Direction./.
    Abstract: Responding to a question of immense interdisciplinary interest, this book investigates the construction of value in the curation of film festivals and production of cultural events undertaken by nonprofit arts organizations around the world. Combining their expertise in economics and sociology, the authors outline a theoretically and methodologically cohesive approach that puts the valuation of cinema right into the middle of global value chain research. It challenges the ways in which the interdisciplinary pursuit of cultural economics has approached cultural value, presenting a thorough analytic inquiry into who produces the value and who seeks rent in the value chain. While offering a fresh approach to cinema and media economics, the book highlights the significant way of nonprofit actor incorporation into value chains and value networks. Ann Vogel is a sociologist who received her Ph.D. from the University of Washington, USA, and a science-management degree from the German University of Administrative Sciences Speyer, Germany. Her most recent work is Cinema and the Festivalization of Capitalism: The Experience-Makers (2023). In her current position she advances research in police and administrative sciences. Alan Shipman is a Senior Lecturer in Economics. He studied Economics at the University of Cambridge, UK, and the University of Oxford, UK, working at the National Institute of Economic and Social Research and as a financial analyst and business journalist before joining the Open University, UK. His most recent monograph is Wynne Godley: A Biography (Palgrave Macmillan, 2019). .
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  • 3
    Online Resource
    Online Resource
    [Erscheinungsort nicht ermittelbar] : Brill
    ISBN: 9789004523968 , 9789004523951
    Language: Undetermined
    Pages: 1 Online-Ressource
    Keywords: Film, TV & radio ; Cultural studies ; Media studies ; Business & management ; Aestheticization ; affective positivity culture ; art worlds ; civil society ; cultural events ; cultural policy ; cultural worker ; film industry ; isomorphism ; late-modern state ; non-elected elites ; non-profit organizations ; rationalization ; welfare state
    Abstract: Film festivals around the world are in the business of making experiences for audiences, elites, industry, professionals, and even future cultural workers. Cinema and the Festivalization of Capitalism explains why these non-profit organizations work as they do: by attracting people who work for free, while appealing to businesses and policymakers as a cheap means to illuminate the creative city and draw attention to film art. Ann Vogel’s unprecedented systematic sociological analysis thus provides firm evidence for the ‘festival effect’, which situates the festival as a key intermediary in cinema value chains, yet also demonstrates the impact of such event culture on cultural workers’ lives. By probing the various resources and institutional pillars ensuring that the festivalization of capitalism is here to stay, Vogel urges us to think critically about publicly displayed benevolence in the context of cinema—and beyond
    Note: English
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