There is a growing awareness that the arts and culture have an important role to play in forming the image that nations hold of themselves. Cross-cultural analysis of the policies in Japan and the VS, countries with very different cultural traditions. Case studies of organizations in art, music, dance and drama examine the elements that contribute to effective arts management and policy making.

This book places the study of public support for the arts and culture within the prism of public policy making. It is explicitly comparative in casting cultural policy within a broad sociopolitical and historical framework. Given the complexity of national communities, there has been an absence of comparative analyses that would explain the wide variability in modes of cultural policy as reflections of public cultures and cultural identity. The discussion is internationally focused and interdisciplinary. Mulcahy contextualizes a wide variety of cultural policies and their relation to politics and identity by asking a basic question: who gets their heritage valorized and by whom is this done? The fundamental assumption is that culture is at the heart of public policy as it defines national identity and personal value.

Understanding Cultural Policy provides a practical, comprehensive introduction to thinking about how and why governments intervene in the arts and culture. Cultural policy expert Carole Rosenstein examines the field through comparative, historical, and administrative lenses, while engaging directly with the issues and tensions that plague policy-makers across the world, including issues of censorship, culture-led development, cultural measurement, and globalization. Several of the textbook’s chapters end with a ‘policy lab’ designed to help students tie theory and concepts to real world, practical applications. This book will prove a new and valuable resource for all students of cultural policy, cultural administration, and arts management.

All human beings develop a certain view on the world. Inhabitants of the same country are likely to develop similar worldviews. The common part of these views constitutes the country’s national culture. Consequently, academic economists, policymakers, and the population at large are consistently exposed to the same opinions on the preferred way of organizing an economy. This book explores the economic impacts of these shared cultural values, focusing on the economies of the United States of America, Germany, and France. These three countries broadly represent three different types of economic organization and their corresponding economic ideologies: a free market economy, a coordinated market economy, and a hierarchical market economy. The contributors to this edited volume have examined the extent to which the shared worldviews between academic economists, policymakers, and the wider population impact these economies. In particular, the chapters investigate the consequences for the design of the labor market, the financial system, competition policy, and monetary policy. The work also explores the extent to which the shared views on national culture and economic systems and policies in these countries contribute to the population’s well-being overall. This book makes an invaluable contribution to the literature on comparative economics, economic policy, well-being and cultural economics.

Non-technical analysis of how cultural industries contribute to economic growth and the policies required to ensure cultural industries will flourish.

This title was first published in 2002: Examining problems that have caused much debate within political science, this book seeks to identify a proper place for the analysis of culture and values within political science. It goes on to explore the impact of globalization upon society.

First volume of a series about cultural co-operation in Europe. It offers a comparative approach to the main trends in the development of public cultural policies in Europe. What are the stated objectives of public policies, how are they organised and funded, what sectors do they cover and how do they deal with audiences and artists? These issues are illustrated by extracts from cultural policy reviews of eight European countries: Austria, Estonia, Finland, France, Italy, The Netherlands, the Russian Federation and Sweden.