International trade in cultural goods: A cross-sectional analysis

Marvasti, Akbar

doi:10.1007/bf01078936

Cited by 49 publications

(32 citation statements)

References 9 publications

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“…The larger effective markets for the larger countries permit firms in these countries to benefit from scale economies in the production of media products. Hoskins and Mirus (1988), Hoskins and McFayden (1991), Marvasti (1994Marvasti ( , 2000, Marvasti and Canterbery (2005), Waterman (1988), and Wildman and Siwek (1988), among others, provide thorough explorations of this type of model in relation to both film and television markets. In the context of the motion-picture market, this model appears to be an accurate depiction in the pre-1990s period when non-US theatrical revenues were smaller than domestic revenues.…”

Section: International Movie Markets and Cultural Distancementioning

confidence: 99%

Economics of motion pictures: the state of the art

et al. 2014

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The motion-picture industry, with its global economic reach and high-stakes highly uncertain investments, transforms creative talent and inputs into multi-billion-dollar profits. The high-profile institutions, operations, exhibition patterns, distribution channels, and marketing strategies present opportunities to explore a wide range of economic research questions. Financial data, particularly on box-office and other revenue sources, provide researchers with a unique opportunity to gather extensive evidence and uncover empirical regularities that yield fundamental insights into strategic investment, organizational design, incentive-compatible contracting, product design, advertising, and cross-cultural consumer experiences, among other areas of basic economic research.This special issue comprises five papers that explore some of these areas, creatively exploiting publicly available data and well-documented industry institutions.The first paper presents evidence on financial outcomes for remakes, an alternative form of brand extension. The second paper studies sequel films in the

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Section: International Movie Markets and Cultural Distancementioning

confidence: 99%

Economics of motion pictures: the state of the art

et al. 2014

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“…Advances in communications technology permit electronic off-line editing across the world, but also enable special effects problematizing the very need for location shooting. The trend is clearly towards horizontal connections to other media, global economy and administration, and a break-up of public± private distinctions in ownership, control, and programming philosophy (Marvasti, 1994;Wedell, 1994, p. 325). Screen texts are fast developing as truly global trading forms.…”

Section: The New International Division Of Cultural Labormentioning

confidence: 98%

“…75± 78;Buck, 1992, pp. 119, 123;Marvasti, 1994;Wasko, 1994, p. 33;Kessler, 1995;Wasser, 1995, p. 424, 431;The Economist, 1998c;Wasko, 1998, pp. 180± 181;Townson, 1999, p. 9).…”

Section: The New International Division Of Cultural Laborunclassified

Runaway Production, Runaway Consumption, Runaway Citizenship: The New International Division of Cultural Labor

Miller

Léger

2001

Emergences: Journal for the Study of Media & Composite Cult

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Think of the Mexican entertainment market, with its young population and fast-growing middle class, as a teenager out looking for a good time after being cooped up for too long. For economically emerging peoples all over the globe, Hollywood speaks a universal language Ð Forbes. (Gubernick and Millman, 1994, p. 95) Worried that free trade is making their indolent lifestyle less viable, the French are blaming sinister conspiracies and putting quotas on American movies Ð Wall Street Journal Ð Europe. (Brooks, 1994, p. 34) It's not the heat, and it's not the humidity: what's really enervating is day after relentless day of news reports about the G-7 trade negotiations in Tokyo. GATT. Market-share targets. The Uruguay Round. Consultations with the Canadian Prime Minister. Drowsy yet? Part of the problem is that trade talks always focus on desperately unexciting commodities; given the choice between reading about tariffs on nonferrous metals and, say, Julia Roberts' marriage, many people will skip the trade-barriers story. So here's an age-of-Clinton hybrid: movie stars and arcane trade issues, together in one convenient package Ð Time.

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“…As Fu (2006) pointed out that having such a limited number of import sources inhibited the assessment of intraregional film flow and the identification of possible source diversification. Another line of research focused only on the summed value of film exports with no consideration of partner countries (e.g., Marvasti, 1994; Marvasti & Canterbery, 2005). The flow of cultural goods can be fully appreciated only when analyzed in relationships to others (Hargittai & Centeno, 2001).…”

Section: Literature Reviewmentioning

confidence: 99%

Mapping International Film Trade: Network Analysis of International Film Trade Between 1996 and 2004

Chung

2011

Journal of Communication

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The international flow of media products has long been 1-way but recent studies have reported a trend of increasing regional and cultural exchanges. This study explores structural changes and continuities in the international film trade during the past decade. It analyzes film trade data obtained from the United Nations database using network analysis. Results suggest that the structure of global film trade has become denser over time, especially due to the increase in film exchanges among English-and Spanish-speaking countries and among countries located in Asia and Europe. Although a few wealthy countries are still responsible for a large proportion of film trade, findings show that both geographical proximity and linguistic commonness are important determinants of international film trade.

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International trade in cultural goods: A cross-sectional analysis

Cited by 49 publications

References 9 publications

Economics of motion pictures: the state of the art

Economics of motion pictures: the state of the art

Runaway Production, Runaway Consumption, Runaway Citizenship: The New International Division of Cultural Labor

Mapping International Film Trade: Network Analysis of International Film Trade Between 1996 and 2004

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