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Cultural Industries > 5- Competition > Flashcards

5- Competition Flashcards

1
Q

The types of information sources discussed for the selection system theory

A
  1. Market Selection
  2. Peer Selection
  3. Expert Selection
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2
Q

market selection (consumer based awards)

A

consumers choosing based on their own judgement

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3
Q

peer selection

A

experts within the sector select

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4
Q

expert selection

A

external judges select

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5
Q

attribution theory

A

explores how individuals perceive and explain the causes of behavior

how consumers don’t accept a signal of quality at face value, they asses the source of the signal.

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6
Q

what do consumers assess according to attribution theory?

A

1) source credibility - trustworwthieness and expertise
2) salience- prominence/ level of activation of a brand in their memory

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7
Q

experience goods

A

products or services whose quality and enjoyment are best understood through personal use.

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8
Q

selection system theory

A

how consumers choose products based on different types of information sources

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9
Q

what are the dominant criteria consumers use to evaluate the quality of a film? (utilitarian or hedonic)

A

HEDONIC
- based on enjoyment a film gives you and the feeling of pleasure it evokes.

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10
Q

what’s “herd behavior”

A

a consumer’s decision-
making process is highly influenced by others

creating inequality and unpredictability of market shares

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11
Q

how do market awards affect mainstream movies, compared to peer awards?

A

market awards DO NOT have a stronger effect compared to peer awards

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12
Q

how do expert awards effect independent movies?

A

expert awards have the biggest impact on independent movies

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13
Q

why do expert awards have the biggest impact on independent movies?

A
  • experts serve as quality markers for discerning viewers.
  • serves as a strong signal for potential viewers, increasing their willingness to invest time and money
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14
Q

the 2 hypotheses of gemser, leenders, and wijnburg

A

Hypothesis 1: In mainstream films, awards chosen by consumers will have a stronger impact on box office revenues and screen presence compared to awards chosen by peers or experts.

Hypothesis 2: For independent films, awards selected by experts will significantly enhance box office revenues and screen presence compared to awards chosen by peers or consumers.

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15
Q

reasoning for hypothesis 1 about mainstream movies (why award signals>)

A

mainstream movies are designed for mass appeal
if these films win awards chosen by their target audience, it shows a strong connection with the viewers tastas.
consumers trust awards chosen by people like them.

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16
Q

reasoning for hypothesis 2 about independent movies (why award signals>)

A

the relative lack of word of mouth and relatively limited marketing budget increases the importance of winning awards
-> to increase ticket sales, (regardless whether they are consumer, expert, or peer selected.)

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17
Q

why aren’t mainstream movies affected that much from awards ?

A

Other signals of quality such as advertising and screen
intensity may spur ticket sales to a much greater extent.

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18
Q

what are the best types of awards for mainstream mvoies?

A

peer selection

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19
Q

why’s the best types of awards for mainstream movies peer selected awards?

A

they combine industry expertise and public recognition. These awards signal high-quality filmmaking to the general audience, enhancing the film’s credibility and market appeal.

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20
Q

why’s the best award for independent movies expert selected awards?

A

because independent movies lack extensive marketing and star power.
These awards provide validation, indicating exceptional quality and attracting film enthusiasts and industry professionals.

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21
Q

define a gatekeeper (acc to foster)

A

Gatekeepers are brokers who mediate between artists and audiences

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22
Q

Gatekeepers as co-producers

A

Gatekeepers, acting as co-producers, guide artists and products through production, actively shaping the content of the cultural product, akin to artists themselves.

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23
Q

Gatekeepers as selectors

A

Gatekeepers, in the role of selectors, selectively grant outsider access to the production, controlling who enters the creative sphere.

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24
Q

Gatekeepers as taste-makers

A

As tastemakers, gatekeepers evaluate the output of creative industries, promoting specific products to audiences based on their judgment.

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25
Q

define social networks

A

structures made of nodes that are tied to each other by specific types of inter-dependencies.
Nodes/ Cliques -> one player linked to another (employees or organizations
Ties -> links between nodes (collaboration/ friendship)

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26
Q

what’s the organizational strategy of original clubs?

A

INNOVATION
they encourage bands to experiment.
they prioritize creativity

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27
Q

what’s the organizational strategy of cover clubs

A

COMMERCIALIZATION
they aim for predictable performances that cater to specific audiences
they prioritize crowd pleasing and revenue generation

28
Q

what’s the social network of original clubs?

A

WIDE SOCIAL SEARCHES
original clubs engage in wide social searches by connecting with many other gatekeepers and brands.
their networks is diverse

29
Q

what’s the social network of cover clubs?

A

NARROW
cover clubs have a narrow, a-social search meaning they connect with few gatekeepers and brands. their networks are concentrated.

30
Q

what’s the gatekeeper selection/ search for original clubs?

A

MULTIPLE GATEKEEPERS
original clubs involve multiple gatekeepers like producers and critics.
they have a broad selection of bands to choose from

31
Q

what’s the gatekeeper selection/ search for cover clubs?

A

FEW GATEKEEPERS
cover clubs rely on a limited number of gatekeepers, interacting only with a select group of bands

32
Q

what’s the governance mechanism of original clubs?

A

NETWORK GOVERNANCE
collaborating with various competitors and suppliers which fosters innovation/ diversity

33
Q

what’s the governance mechanism of cover clubs?

A

RELATIONAL GOVERNANCE
cover clubs prefer maintaining strong ties with select suppliers- they ensure stability and consistency in their offerings

34
Q

what’s the market structure of original clubs?

A

HIGH PRODUCT SHARING
they share unique products among themselves

35
Q

what’s the market structure of cover clubs?

A

LOW PRODUCT SHARING
they limit product sharing to maintain their established style, and cater to specific audiences.
consistency > diversity

36
Q

what are strong ties

A

regular and frequent communication
involve emotional bonds, where individuals feel connected on a personal level.
Strong ties are marked by a reciprocal exchange of resources, information, or support.

37
Q

what are weak ties

A

Weak ties involve sporadic or infrequent communication between nodes in a social network.
Weak ties lack the deep emotional connections found in strong ties.
Weak ties often involve one-way exchanges of information or resources.

38
Q

benefits of weak ties

A

New Ideas and Innovation: provides exposure to diverse perspectives, fostering innovation and creativity.
Facilitate Autonomy: they allow individuals to maintain independence and autonomy in their decisions and actions.
Diversity of Actors: they connect parties from different backgrounds, bringing diverse talents and skills into play.
Flexibility: they offer flexibility in collaborations, allowing gatekeepers to explore various opportunities without being tied down to specific partners.

39
Q

benefits of strong ties

A

Routines and Norms: they enable the establishment of routines and norms, providing stability and predictability in interactions.
Conformity: Parties in strong ties tend to conform to each other’s expectations and preferences, leading to smoother collaborations.
Similarity between Actors: Shared values, goals, or interests enhance the strength of ties, fostering a sense of belonging and mutual understanding.

40
Q

network governance theory

A

decision-making and coordination occur through social connections and interactions, rather than traditional hierarchical structures.

41
Q

how do Foster, Borgatti and Jones confirm network governance theory

A

The authors confirm network governance theory by showing that buyers in creative industries share vital information about producer performance and emerging cultural trends within their networks. This supports the theory’s prediction that these networks reduce uncertainty and facilitate exchanges, underlining the significance of information sharing among buyers.

42
Q

dense information networks

A

have detailed band information, aiding strategic decisions and market insight.

43
Q

dense information networks

A

Original Market Gatekeepers have detailed band information, which aids their strategic decisions and provides valuable market insight.

44
Q

describe original market gatekeepers

A

1) Dense Information Networks (ST): They have detailed information about different bands, helping them make strategic decisions.
2) Collaborative Networks with Competitors (ST): They work closely with competitors, sharing insights for a competitive edge.
3) Professional Distance with Bands (WT): They maintain objectivity and don’t get emotionally attached to bands, ensuring unbiased decisions.

45
Q

Familiar Market Gatekeepers:

A

1) Limited Interaction with Competitors (WT): They avoid forming close relationships with competitors for fair competition.
2) Close Bonds with Bands (ST): They build strong trust with individual bands, leading to successful collaborations within their market segment.

46
Q

according to franssen and kuipers, editors choose titles for translation that

A

1) resemble those published by successful foreign publishers.
2) resemble the books they are already publishing

47
Q

what does “gatekeepers in CCI occupy a boundary spanning position” mean? (3)

A

1) they mediate between producers and consumers
2) they bridge creative and managerial branches
3) link national and transnational literary fields

48
Q

what are some problems discussed in the franssen kuipers article? (4)

A

1) Oversupply of producers and products
2) Uncertainty about quality
3) Lack of objective quality standards
4) Extreme competition

49
Q

what are some coping mechanisms for problems of the industry? (4)

A

1) decentralized networks
2) trust in transnational networks
3) expertise reliance
4) symbolic capital accumulation

50
Q

decentralized networks

A

How it Works: Editors divide tasks among different groups for efficient handling.
Why it Helps: Prevents overload, enabling quick adaptation to market demands.

51
Q

trust in transnational networks

A

How it Works: Editors build trust with global partners for smooth collaborations.
Why it Helps: Provides access to diverse resources, aiding in navigating uncertainties.

52
Q

expertise reliance

A

How it Works: Editors make decisions based on industry knowledge and market trends.
Why it Helps: Ensures high-quality products, reducing risks linked to market uncertainties.

53
Q

symbolic capital accumulation

A

How it Works: Editors focus on building a positive industry reputation.
Why it Helps: Enhances industry influence, facilitating effective collaborations and negotiations.

54
Q

what does neo institutionalism explore?

A

Neo-Institutionalism explores how artistic expression is influenced by enduring institutions and societal norms.

It offers insight into the intricate cultural tapestry of a society, showcasing how art is shaped by historical and societal contexts.

55
Q

neo-institutionalism studies the production of culture through the lens of….

A

organizational practices
- networks of gatekeepers
- power is distributed across actors

56
Q

how is competition viewed in neo-institutionalism?

A

competition is viewed in terms of conflict
- the central problem in production vs. consumption

57
Q

what’s the central problem of cultural production according to neo-institutional theory? and how do they cope with this problem

A

UNCERTAINTY is the central problem

Neo-Institutionalism copes with UNCERTAINTY by emphasizing routines and innovations. Isomorphism, conforming to established norms, provides stability amidst an uncertain cultural landscape.

58
Q

define isomorphism

A

conforming to established norms for stability.

59
Q

how does neo institutionalism approach challenges?

A
  • Recognizes uncertainty as a challenge and relies on specialized professionals (gatekeepers) to evaluate cultural product value, mitigating uncertainties.
  • Coping with uncertainty involves imitating successful practices and balancing cultural depth with commercial viability.
60
Q

summarize the focus of field theory

A

1) Balancing Acts: Views competition as conflict, wants to balance between artistic depth and economic viability
2) Symbolic Capital: Field Theory thinks maintaining symbolic capital is important – an entity’s perceived prestige and influence in the industry.

61
Q

how does field theory approach challenges

A

1) Strategic Positioning: Focuses on strategic moves to prevent symbolic capital loss, ensuring sustained influence and competitive advantage.

2) Balances artistic significance and market demand, ensuring appeal to highbrow and commercial audiences.

62
Q

overall comparison of field v.s neo-institutional theory

A

Neo-Institutionalism prioritizes conformity and stability through gatekeepers’ decisions, while Field Theory focuses on strategic balance, emphasizing the preservation of symbolic capital.

63
Q

compare Gatekeepers’ Role in field vs. neo institutional

A

neo institutionalism relies heavily on gatekeepers judgements, while field theory emphasizes strategic positioning, and preserving symbolic capital

64
Q

compare the decision making process of field vs. neo institutionalism

A

neo institutionalism seeks stability through conformity, while field theory balances artistic and commercial elements for artistic appeal

65
Q

compare how neo institutionalism and field cope with challenges

A

Neo-Institutionalism copes through imitation and alignment, whereas Field Theory emphasizes strategic moves for influence and competitive edge.

Cultural Industries (6 decks)

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