Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

1. business models > cultural insights - peltoniemi, 2015 > Flashcards

cultural insights - peltoniemi, 2015 Flashcards

1
Q

creative market dynamics

A

preferences and how you manage them

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

sources of revenue

A

selling creative goods
product placement
subsidies
revenues from goods and others offered on the side e.g. msuem + gift shop

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

product placement

A

advertisin goods of other producers

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

cultural industries

A

produce experience goods with considerable creative elements and aim these at the consumer market via mass distribution
e.g. book and magazine publishing, TV and radio

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

subsiedies

A

other support for what we are
grants, foundations, sponderships

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

cultural goods purposes

A

purpose of entertainment
identity building
social display

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

cultural goods characteristics

A

low utilitarian value
high aesthetic
symbolic
social meaning
social display value
catering entertainment and identity building needs

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

cultural goods as experimental

A

judged on ability to offer fun, enjoyment, pleasure

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

cultural goods as innovation

A

constantly introduce different types of goods to please diverse taste

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

biggest issue of creative industry/goods

A

persistent oversupply of creative labour, idependent of economic cycles

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

reason for persistent oversupply

A

extreme uncertainty of success of potential product
consumers do not have complete information prior to consumption

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

mass distribution

A

storage and delivery where economies of scale play an important role

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

product market characteristic

A

taste
popularity
gatekeeping

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

taste

A

preferences that consumers report cumulatively or inherent

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

upper class vs lower class taste

A

highbrow enjoy many different types of products
lowbrow tend to enjoy only a specific type

influence each other
can go from high to low and vice versa
omnivorous

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

acquisition of cultural taste view

A

more critical over time
rate prodcts higher specialising in particular genre
nostalgia effect: inheret from parents

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Evidence for taste is inate view

A

predates consumption
evolves in dormant state

  • report generally stable genre preferences over time
  • neural responses of indv. predict future sales of music
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

taste separates

A

accumulating cultural capital vs immediate enjoyment

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

taste general findings

A

prefer films with younger
opposite gendered leads
older directors
unfamiliar temporal settings
- star power
- bias towards make artists especially with male consumers

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

popularity

A

sales that goods with particular characteristics achieve
hits/misses

21
Q

5 popularity characteristics

A

information cascades
intention to purchase
trendsetters
positive word of mouth
investing in advertistment

22
Q

popularity as signals eg-superstars

A

superstars and exotic locations
superstar phenomenon

23
Q

familiarity vs novelty in popularity

A

to understand vs to enjoy

prequels > book-based fims
greates album hits > recent

24
Q

popularity and unpredictability of demand

A

lack of correlation between popularity and quality
information cascades assume similar taste of friends
familiar products less sensitive to information cascades?

25
Q

gatekeeping + oversupply

A

as production of culture views
filtering system needed to reduce number of products reaching the market

due to oversupply, experiential nature, limited sense-making resources

extreme variance in sales, heavy upfront investment, production companies reject most aspiring artists

26
Q

upstream selectors in gatekeeping

A

companies making contracts
financing creative projects e.g. labels

large generalists vs small specialists

larger advertising budget
- increases sales, retun on advertising dependent on product

selection performance

27
Q

small specialists characteristics

A

superior cultural capital
dense information sharing networks
pre-selected arists –> slower to succeed BUT longer lasting

28
Q

selection performance in upstream selectors

A

based on artists conforming to genere, not imitatin others, good reputation, conforming to creative prototypes

29
Q

downstream selectors

A

decide whether product reaches completion and audience
e.g. media retailers

30
Q

power of downstream selectors

A

(+) reviews increase sales, grows with product age, greater for less familiar

(-) influence on consumer expectation

31
Q

bias of downstream selectors

A

prefer certain products
earlier collaborators
payola - incentives offered to selectors to cause favor

32
Q

people characteristic in reaction to downstream selectors

A

personality traits affect whether you listen to critics
awards differ in effet when granted by consumers, peers or experts
lay critics online influential on niche products
mainstream - volume
niche goods - valence

33
Q

Two-way relationship between critic and consumer

A

Critics need to appear knowledgeable → align with consumer taste

34
Q

management challenges

A

reconciling artistic and profit goals
suits and creatives
creative labour
work allocation
industry dynamics
sensemaking within the community
interdependence in communities
industry structure and creative outcomes
majors and independents
concentration and diversity
flexible specialisation
digital distribution

35
Q

art for art’s sake and art for profit

A

tension between artistic ambition and financial gain

36
Q

Reconciling artistic and profit goals
- mutually exclusive

A

Profit motive is absent in sectors where profit opportunities are minimal, prefer wide distribution to profit
Company strategy focused on artistic intent, market considerations

37
Q

Reconciling artistic and profit goals - complementary

A

Artist value combination of artistic freedom and pecuniary rewards
Work responds to economic incentives
Validation for creative skills

38
Q

suits and creatives

A

Relentless new genres, formats and products, virtually unlimited aesthetic choices, difficulties in monitoring such processes

Ongoing convergence of different cultural sectors

Symbol creators granted autonomy bc of originality and novelty

Managers + corporation have power to redirect and block creative activity

Cultural production companies → dual leadership
Manager with creative backgrounds → innovative performance
‘
Power relations → moderator for art + profit motives + related outcomes

39
Q

Creative labour → inferior working conditions

A

Low wages, long working hours, structured job insecurity

Repeatedly drawn back to industry by financial, creative, social and emotional rewards

Stress, anxiety, poor employment relationships

Absence of mentors

Copyright
Artist earn little, corporations earn a lot

40
Q

Work allocation

A

Informal networks → path-dependent networks
Inclusion or exclusion?

Repeated collaboration, mutual trust

Career success predicted nu contacts with professionals rather than talent

Gender inequality and discrimination
Women → typecasted

41
Q

Industry dynamics

A

Cultural industries as communities
Industry system and organisational field

42
Q

Sensemaking within the community

A

Popularity charts, events and award rituals

Fragmentation of styles within a sector

Trade fairs and fashion weeks generate visibility for field, create global circuit

Industry-level sensemaking → encourages homogenization

Change in sense-making → change in selection criteria as upstream selectors want to align with consumer preferences

43
Q

Interdependence in communities

A

Actions and outcomes of complementors and competitors, dependence on distributors and platform providers

Local audiences
Less developed taste enable industry emergence

Value chain envy
One stage in chain capturing more than fair share of profit

Within company → homogeneity in production capabilities and organisational structures within an industry

Similarity and differences
Need optimum level of differentiation for uniqueness but sufficiently similar to stay legitimate

44
Q

Industry structure and creative outcomes

A

Majors (proven solution) and independent (specialised styles)
Cultural diversity and industry concentration
Majors → secure cash > artistic values → high homogeneity
Flexible specialisation offer specialised inputs
Digitalization

45
Q

Majors and independents

A

Skewed distribution in company size
Firms grow faster than employment
Majors grow via acquisitions and partnerships + level of horizontal integration
Artistic and business resources placed in different companies to avoid cross-contamination
Highly differentiated inputs encourage vertical disintegration
Allows majors to cut costs and control markets

46
Q

Concentration and diversity

A

High concentration → low diversity and vice versa
Standardisation matter of ownership, result of large markets

47
Q

Flexible specialisation

A

Industrial organisation where specialised firms involved in production frequently change to create variety of outputs
Motivated labour unions

48
Q

Digital distribution

A

Very narrow loophole to escape corporate control

Need to fulfil consumer need of collecting, ownership ritual for buying, enjoyment from the look, feel, smell of original product

1. business models (5 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions