Edited by Trine Bille, Professor, Department of Management, Politics and Philosophy, Copenhagen Business School, Denmark, Anna Mignosa, Assistant Professor of Economics, University of Catania, Italy and Erasmus University Rotterdam, the Netherlands and Ruth Towse, Professor of Economics of Creative Industries, CIPPM, Bournemouth University and CREATe Fellow in Cultural Economics, University of Glasgow, UK

• Contents:1 Introduction 1Trine Bille, Anna Mignosa and Ruth Towse2 Teaching cultural economics 3Ruth Towse3 Cultural economics – in research and teaching 10Trine Bille4 Why a(nother) book on cultural economics? 20Anna Mignosa5 My approach to teaching cultural economics: Why, how, what? 25Franҫoise Benhamou6 Teaching cultural economics: The perspective of a decade 27Bruce A. SeamanPART I ECONOMICS OF PUBLIC SUPPORT FORARTS AND CULTURAL ORGANIZATIONS7 Economic arguments for public support of arts and culture 42Trine Bille8 Cultural value and economic value in arts and culture 51Patrycja Kaszynska9 Performance assessment in cultural institutions 58Luis César Herrero-Prieto and María José del Barrio-Tellado10 Economic impact studies 69Trine BillePART II FINANCING CULTURAL PRODUCTION11 Tax incentives for the cultural sector 79Sigrid Hemels12 Tax incentives for international giving to the cultural sector 86Renate Buijze13 Philanthropy 91Luigi Di Gaetano and Isidoro Mazza14 The economics of crowdfunding 99Franҫoise BenhamouPART III ARTISTS’ LABOUR MARKETS15 Artists’ earnings and labour markets 106Trine Bille16 Contracts for creators and performers in the creative industries 115Ruth Towse17 Busking as a source of income 122Samuel Cameron18 Creators’ and performers’ earnings from copyright 129Ruth Towse19 Superstars 140Luc ChamparnaudPART IV CONSUMER BEHAVIOUR IN THE CULTURAL SECTOR20 Demand for cultural goods: Key concepts anda hypothetical case study 149Bruce A. Seaman21 Consumer theory, market segmentation and audienceresearch on cultural goods 157Victoria Ateca-Amestoy22 Consumer behaviour in the performing arts 166Andrea Baldin23 Digital consumption of cultural goods and services 175Jordi McKenzie24 Strategies for and experiences of audience development 182Egil Bjørnsen25 Big Data: The new avenue for measuring culturalconsumption? 189Lydia DeloumeauxPART V DIGITIZATION AND COPYRIGHT26 Artificial intelligence and cultural creation 198Joëlle Farchy and Juliette Denis27 Digitization in museums 204Trilce Navarrete28 Paying for digital music 214Christian Handke29 The economics of e-books 220Françoise Benhamou30 BBC3 goes digital 225Ruth TowsePART VI TOPICS IN ECONOMICS OF CULTURALAND CREATIVE INDUSTRIES31 Measuring the creative economy 230Hasan Bakhshi32 Art at the crossroads between creativity, innovation,digital technology and business, a case study 238Elisabetta Lazzaro33 Art galleries as market makers 244Paolo Di Caro and Isidoro Mazza34 Film economics 253Tylor Orme and Darlene C. Chisholm35 Cinema economics 258Tylor Orme and Darlene C. Chisholm36 Intangible cultural heritage 262Kazuko Goto and Anna Mignosa37 The economics of craft 268Kazuko Goto and Anna Mignosa38 Conservation of historical buildings: The rehabilitationof the Benedettini Monastery in Catania 275Giacomo Pignataro and Ilde RizzoIndex 282

‘This is a rich and extremely useful guide on why to teach cultural economics, how it should be taught and what to teach.’

Edited by Trine Bille, Professor, Department of Management, Politics and Philosophy, Copenhagen Business School, Denmark, Anna Mignosa, Assistant Professor of Economics, University of Catania, Italy and Erasmus University Rotterdam, the Netherlands and Ruth Towse, Professor of Economics of Creative Industries, CIPPM, Bournemouth University and CREATe Fellow in Cultural Economics, University of Glasgow, UK

• Contents:1 Introduction 1Trine Bille, Anna Mignosa and Ruth Towse2 Teaching cultural economics 3Ruth Towse3 Cultural economics – in research and teaching 10Trine Bille4 Why a(nother) book on cultural economics? 20Anna Mignosa5 My approach to teaching cultural economics: Why, how, what? 25Franҫoise Benhamou6 Teaching cultural economics: The perspective of a decade 27Bruce A. SeamanPART I ECONOMICS OF PUBLIC SUPPORT FORARTS AND CULTURAL ORGANIZATIONS7 Economic arguments for public support of arts and culture 42Trine Bille8 Cultural value and economic value in arts and culture 51Patrycja Kaszynska9 Performance assessment in cultural institutions 58Luis César Herrero-Prieto and María José del Barrio-Tellado10 Economic impact studies 69Trine BillePART II FINANCING CULTURAL PRODUCTION11 Tax incentives for the cultural sector 79Sigrid Hemels12 Tax incentives for international giving to the cultural sector 86Renate Buijze13 Philanthropy 91Luigi Di Gaetano and Isidoro Mazza14 The economics of crowdfunding 99Franҫoise BenhamouPART III ARTISTS’ LABOUR MARKETS15 Artists’ earnings and labour markets 106Trine Bille16 Contracts for creators and performers in the creative industries 115Ruth Towse17 Busking as a source of income 122Samuel Cameron18 Creators’ and performers’ earnings from copyright 129Ruth Towse19 Superstars 140Luc ChamparnaudPART IV CONSUMER BEHAVIOUR IN THE CULTURAL SECTOR20 Demand for cultural goods: Key concepts anda hypothetical case study 149Bruce A. Seaman21 Consumer theory, market segmentation and audienceresearch on cultural goods 157Victoria Ateca-Amestoy22 Consumer behaviour in the performing arts 166Andrea Baldin23 Digital consumption of cultural goods and services 175Jordi McKenzie24 Strategies for and experiences of audience development 182Egil Bjørnsen25 Big Data: The new avenue for measuring culturalconsumption? 189Lydia DeloumeauxPART V DIGITIZATION AND COPYRIGHT26 Artificial intelligence and cultural creation 198Joëlle Farchy and Juliette Denis27 Digitization in museums 204Trilce Navarrete28 Paying for digital music 214Christian Handke29 The economics of e-books 220Françoise Benhamou30 BBC3 goes digital 225Ruth TowsePART VI TOPICS IN ECONOMICS OF CULTURALAND CREATIVE INDUSTRIES31 Measuring the creative economy 230Hasan Bakhshi32 Art at the crossroads between creativity, innovation,digital technology and business, a case study 238Elisabetta Lazzaro33 Art galleries as market makers 244Paolo Di Caro and Isidoro Mazza34 Film economics 253Tylor Orme and Darlene C. Chisholm35 Cinema economics 258Tylor Orme and Darlene C. Chisholm36 Intangible cultural heritage 262Kazuko Goto and Anna Mignosa37 The economics of craft 268Kazuko Goto and Anna Mignosa38 Conservation of historical buildings: The rehabilitationof the Benedettini Monastery in Catania 275Giacomo Pignataro and Ilde RizzoIndex 282

‘This is a rich and extremely useful guide on why to teach cultural economics, how it should be taught and what to teach.’

Edited by Trine Bille, Professor, Department of Management, Politics and Philosophy, Copenhagen Business School, Denmark, Anna Mignosa, Assistant Professor of Economics, University of Catania, Italy and Erasmus University Rotterdam, the Netherlands and Ruth Towse, Professor of Economics of Creative Industries, CIPPM, Bournemouth University and CREATe Fellow in Cultural Economics, University of Glasgow, UK

• Contents:1 Introduction 1Trine Bille, Anna Mignosa and Ruth Towse2 Teaching cultural economics 3Ruth Towse3 Cultural economics – in research and teaching 10Trine Bille4 Why a(nother) book on cultural economics? 20Anna Mignosa5 My approach to teaching cultural economics: Why, how, what? 25Franҫoise Benhamou6 Teaching cultural economics: The perspective of a decade 27Bruce A. SeamanPART I ECONOMICS OF PUBLIC SUPPORT FORARTS AND CULTURAL ORGANIZATIONS7 Economic arguments for public support of arts and culture 42Trine Bille8 Cultural value and economic value in arts and culture 51Patrycja Kaszynska9 Performance assessment in cultural institutions 58Luis César Herrero-Prieto and María José del Barrio-Tellado10 Economic impact studies 69Trine BillePART II FINANCING CULTURAL PRODUCTION11 Tax incentives for the cultural sector 79Sigrid Hemels12 Tax incentives for international giving to the cultural sector 86Renate Buijze13 Philanthropy 91Luigi Di Gaetano and Isidoro Mazza14 The economics of crowdfunding 99Franҫoise BenhamouPART III ARTISTS’ LABOUR MARKETS15 Artists’ earnings and labour markets 106Trine Bille16 Contracts for creators and performers in the creative industries 115Ruth Towse17 Busking as a source of income 122Samuel Cameron18 Creators’ and performers’ earnings from copyright 129Ruth Towse19 Superstars 140Luc ChamparnaudPART IV CONSUMER BEHAVIOUR IN THE CULTURAL SECTOR20 Demand for cultural goods: Key concepts anda hypothetical case study 149Bruce A. Seaman21 Consumer theory, market segmentation and audienceresearch on cultural goods 157Victoria Ateca-Amestoy22 Consumer behaviour in the performing arts 166Andrea Baldin23 Digital consumption of cultural goods and services 175Jordi McKenzie24 Strategies for and experiences of audience development 182Egil Bjørnsen25 Big Data: The new avenue for measuring culturalconsumption? 189Lydia DeloumeauxPART V DIGITIZATION AND COPYRIGHT26 Artificial intelligence and cultural creation 198Joëlle Farchy and Juliette Denis27 Digitization in museums 204Trilce Navarrete28 Paying for digital music 214Christian Handke29 The economics of e-books 220Françoise Benhamou30 BBC3 goes digital 225Ruth TowsePART VI TOPICS IN ECONOMICS OF CULTURALAND CREATIVE INDUSTRIES31 Measuring the creative economy 230Hasan Bakhshi32 Art at the crossroads between creativity, innovation,digital technology and business, a case study 238Elisabetta Lazzaro33 Art galleries as market makers 244Paolo Di Caro and Isidoro Mazza34 Film economics 253Tylor Orme and Darlene C. Chisholm35 Cinema economics 258Tylor Orme and Darlene C. Chisholm36 Intangible cultural heritage 262Kazuko Goto and Anna Mignosa37 The economics of craft 268Kazuko Goto and Anna Mignosa38 Conservation of historical buildings: The rehabilitationof the Benedettini Monastery in Catania 275Giacomo Pignataro and Ilde RizzoIndex 282

‘This is a rich and extremely useful guide on why to teach cultural economics, how it should be taught and what to teach.’