Entertainment Industry Economics

By Harold L. Vogel. 2020

460 citations recorded by the source corpus.

Part I. Introduction: 1. Economic perspectives Part II. Media-Dependent Entertainment: 2. Movie macroeconomics 3. Making and marketing movies 4. Financial accounting in movies and television 5. Music 6. Broadcasting 7. Cable 8. Publishing and New Media 9. Toys and Games Part III. Live Entertainment: 10. Gaming and wagering 11. Sports 12. Performing arts and culture 13. Amusement/theme parks Part IV. Roundup: 14. Epilogue.

Subfields: Sociology and Political Science, Urban Studies, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/87864ab3cedf8f7d660b2af57c4cdea7d4759959

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Citations in the corpus

Interactive influence of genre familiarity, star power, and critics' reviews in the cultural goods industry: The case of motion pictures (2005, methodology): “Each year, approximately half a trillion dollars is spent on various forms of entertainment globally, and more than $200 billion of that total is spent in the United States ( Vogel, 2001 ).”
Defining the Creative Economy: Industry and Occupational Approaches (2008, background): “Some authors (Beyers, 2006; Vogel, 2001) include sports and recreation in their definition of cultural industries.”
Critical Push: Strategies for Creating Momentum in the Motion Picture Industry (2000, background): “They must decide if a product shows sufficient sales momentum to justify additional marketing and promotional expenditures, but they are also aware that momentum is unlikely to develop without concomitant investment in marketing, promotion and distribution (Dekom, 1992; Vogel, 1994).”
How Critical are Critical Reviews? The Box Office Effects of Film Critics, Star Power, and Budgets (2003, background): “Box Office Effects of Film Critics / 113 TA B L E 5 E ff ec t o f C ri ti ca l R ev ie w s o n B ox O ff ic e R ev en u e: W ee kl y R eg re ss io n R es u lt s w it h P er ce n ta g e o f N eg at iv e R ev ie w s an d O th er C o n tr o l V ar ia b le s C o n -”
The Motion Picture Industry: Critical Issues in Practice, Current Research, and New Research Directions (2006, background): “In that case, the producer will have to obtain initial financing from other sources, which is particularly difficult when no distribution deals are guaranteed (Vogel 2001).”
Creative cities: Tensions within and between social, cultural and economic development. A critical reading of the UK experience (2010, background): “It is also clear that the traditional analytical divisions between public and private, formal and informal, for- and not-for-profit activities either break down, or are simply not helpful in understanding how the cultural and creative sector operates (Caves, 2000; Deuze, 2007; Gill & Pratt, 2008; Ho”
An advanced triple-helix network model for smart cities performance (2011, background): “Since Florida’s (2002) ideas on the creative class, the creative industry and the creative city, an avalanche of studies has been undertaken to study the features and success conditions of creative environments (see e.g., Fusco Girard et al., 2009; Gabe, 2006; Heilbrun and Gray, 1993; Hesmondhalgh, ”
Collaboration and Creativity: The Small World Problem1 (2005, unknown): “We included the standard economic control variables for this industry (Vogel 2001).”
When Market Information Constitutes Fields: Sensemaking of Markets in the Commercial Music Industry (2000, background): “The Nielsen ratings, on the basis of which television shows are cut or renewed, is a celebrated case in point (Vogel 1998).”
Web-based experiments for the study of collective social dynamics in cultural markets (2009, unknown): “First, in cultural markets, there are simply too many products for individuals to consider—for example, in 1 year alone, about 6,500 new major-label albums are released (Vogel, 2004).”