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Question 1

Oligopoly Model

Answer 1

Concentrated market structure; an industry
controlled by only a few powerful forms
(tend to be lower on innovation)
* Three types of market concentration:
* Industry concentration (sector
controlled by a few firms)
* Vertical integration (production line; e.g.
from screenplay to film marketing)
* Horizontal integration (different sectors;
e.g. media, books, movies, music,
theme parks

Question 2

Consequences of oligopoly: globalization/imperialism

Answer 2

Aesthetic and political critique
* Standardization according to Western scripts
* Indigenous creative epistemes might be driven out
* Concentration of economic and symbolic power
* BUT ALSO: local industries re-interpret and resist
Western influence as well – agency!
* More empirical research needed
* Cultural globalization is difficult to measure
* Not one-sided effects, ambivalence
* Ample room for industry-specific research

Question 3

Nonprofits

Answer 3

Aesthetic/artistic logic prevails?
* Yes, but also no.
* Dependent on funders/governments
* Conservative (not necessarily subcultural;
depending on cultural policy, creative hierarchies)
* Focus on ‘dead artists’
* Catering to broad audiences (‘civilizing’/bildung
aspects)
* Cushioning with commercial operations
* Catering, bars, gift shops etc.

Question 4

Role of
governments

Answer 4

Facilitator state (i.e. through
favorable tax cuts)
* Patron state (monetary, direct
support of the arts)
* Architect state (more
centralized support structure)
* Engineer state (conditional
support; art and state-
making)

Question 5

Overall conclusions

Answer 5

“the image of the cultural industries producing bland or derivative objects
because of innate philistinism, or cynicism about the general public, is a
distorted stereotype” (86)
“The profit motive characterizes the firms in cultural industries; profit
takes precedence. This can – and does – conflict with artistic integrity, but
as we have seen, both the managers and creative personnel seek to
balance these two imperatives” (88)
“In nonprofits, artistic and utilitarian perspectives compete, but both views
claim a degree of legitimacy. In business firms, the utilitarian side
dominates” (98)