David and Ake E. Andersson's book will appeal to scholars and researchers at all levels of academe involved in economics, public sector economics and those with a special interest in art and/or entertainment. Public and private sector managers, planners and administrators in various art and entertainment industries will also find much to engage them within this book.

Serves as an introduction to various economic aspects of the production and consumption of art and entertainment products. This book begins with analyses and discussion of neoclassical production and utility functions, with a focus on art and entertainment. Then, it presents alternative Austrian and institutional approaches.

This illuminating Handbook presents the state of the art in the scientific field of experience economy studies. It offers a rich and varied collection of contributions that discuss different issues of crucial importance for our understanding of the exp

The book develops a new approach to urban development in which leisure, pleasure or experiences are seen as key drivers. History, authenticity, urban qualities, local culture and leisure offerings or a vibrant retail sector are thus assets in local development also outside of the big cities. Globalization and high mobility are necessary aspects of the development, which entails the development of high urban profiles in a globalized and highly competitive world. Apart from experiential qualities a critical urban size, is also required. Experience qualities can be connected to urban design, where particular designs stimulate citizens’ learning and activity in the urban space. They can also be connected to more tourist related large scale projects of experiential mass consumption with fun parks and shopping. A combination of the two approaches has been developed to promote for example car brands and cities through experiential car museums. New stakeholders, new network based forms of cooperation and new entrepreneurial strategies are connected to urban development in ‘the experience economy'. In particular new network based approaches are needed if small and rural places should also reap the fruits of the experience economy. This book was originally published as a special issue of European Planning Studies.

Offering an extensive and coherent presentation of theory on the experience economy, this stimulating Advanced Introduction discusses what experiencing is and why people are seeking experiences. Jon Sundbo defines the experience concept in contrast to similar concepts such as culture and creative economies, and presents measurements of the value of the experience economy.

Fully updated, this edition offers a unique, integrated approach to the economics and financing of entertainment and media sectors.

The Routledge Handbook of Tourism Experience Management and Marketing offers a comprehensive and thorough inquiry into both customary and emergent issues of tourism experience and co-creation. Drawing together contributions from 83 authors from 28 countries with varied backgrounds and interdisciplinary interests, the handbook highlights multiple representations and interpretations of the theme. It also integrates a selection of illustrative global case studies to effectively present its chapter contents. Tourism experience drives the contemporary tourist’s behavior as they travel in pursuit of experiencing unique and unusual destinations and activities. Creating a memorable and enduring experience is therefore a prerequisite for the all tourism business organizations irrespective of the nature of their products or services. This handbook focuses on conceptualizing, designing, staging, managing and marketing paradigms of tourism experiences from both supply and demand perspectives. It sheds substantial light on the contemporary theories, practices and future developments in the arena of experiential tourism management and marketing. Encompassing the latest thinking and research themes, this will be an essential reference for upper-level students, researchers, academics and industry practitioners of hospitality as well as those of tourism, gastronomy, management, marketing, consumer behavior, cultural studies, development studies and international business, encouraging dialogue across disciplinary boundaries.

The second edition of this widely acclaimed and extensively cited collection of original contributions by specialist authors reflects changes in the field of cultural economics over the last eight years. Thoroughly revised chapters alongside new topics and contributors bring the Handbook up-to-date, taking into account new research, literature and the impact of new technologies in the creative industries. The book covers a range of topics encompassing the creative industries as well as the economics of the arts and culture, and includes chapters on: economics of art (including auctions, markets, prices, anthropology), artists' labour markets, creativity and the creative economy, cultural districts, cultural value, globalization and international trade, the internet, media economics, museums, non-profit organisations, opera, performance indicators, performing arts, publishing, regulation, tax expenditures, and welfare economics.

This collection brings together the work of a range of scholars from around the world with different perspectives on one simple question: How can we assess the value of various entertainment products and forms? Entertainment is everywhere. The industries that produce it earn billions of dollars each year and employ hundreds of thousands of people. Its pervasiveness means almost everyone has something to say about entertainment, too, whether it be our opinion on the latest Hollywood blockbuster, a new celebrity couple, or our concerns over its place in the world of politics. And yet, in spite of its significance, entertainment has too-often been dismissed with surprising ease within the academy as a ‘mindless’, ‘lowbrow’ – even ‘dangerous’ – form of culture, and therefore unworthy of serious appraisal (let alone praise). Entertainment Values, challenges this assumption, offering a better understanding of what entertainment is, why we should take it seriously, as well as helping us to appreciate the significant and complex impact it has on our culture.

Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of attending live music events from the initial decision to attend through to audience responses and memories of a performance after it has happened. The book brings together international researchers who consider the experience of being an audience member from a range of theoretical and empirical perspectives. Whether enjoying a drink at a jazz gig, tweeting at a pop concert or suppressing a cough at a classical recital, audience experience is affected by motivation, performance quality, social atmosphere and group and personal identity. Drawing on the implications of these experiences and attitudes, the authors consider the question of what makes an audience, and argue convincingly for the practical and academic value of that question.