The production and trade of cultural goods (books, movies, shows, visual arts, CDs, etc.) have increased spectacularly in the context of globalization, which has favoured the opening of markets and intensification of cultural exchange. Cultural goods trade has amplified unexpectedly, and internal producers need to face competition from important external producers (which was not a problem several decades ago). In addition, cultural consumption is highly relevant from the perspective of recent changes produced by the development of new technologies. [read more]
Three main indicators have been selected for this subfield, taken from the European system of cultural indicators. The first refers to the turnover of enterprises in the cultural sectors, which measures both the volume of cultural production in a country, as well as the dynamics of cultural goods. The second refers to the intra and extra-EU trade in cultural goods as percentage of total trade, which is relevant for the potential of cultural industries, but also for the dynamics of cultural exchanges between a country and other EU member states. Finally, the third indicator refers to the number of cultural consumers of events, cinema and visitors in museums.
Cultural goods inevitably enter the trade circuit, are sold and bought, on a market of symbolic goods. The contribution of the cultural and creative sector to GDP can be expressed by the import/export balance of cultural goods (movies, books, visual arts, antiquities, traditional products, media products, etc.). That is the reason why the indicators mentioned above can give an image of the cultural production and scope of cultural life.
The secondary indicators focus on the volume and diversity of cultural production: number and average size of enterprises in the cultural sectors by activity type, annual production of books and booklets and the national film production. Persons participating in cultural activities (% of total population) is a secondary indicator that shows the people’s interest in the cultural field and their participation in cultural activities. Finally, another secondary indicator refers to the cultural consumers on the Internet (% of total population), by activity type.
It is important to notice that under the impact of new communication technologies, a new type of consumer has appeared, with hybrid cultural practices, combining several types of activities for free time spending. These are consumers anchored in the new technological and media habitat (computer, tablet, mobile phone, etc.), who participate simultaneously to unmediated cultural activities (read books and magazines, listen to classical music, go to theatres, etc.)
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