Main objective of this course is to trace the development of the Cultural and Creative Industries as an idea and as concept and to identify the key points of changes within it in relations with contemporary digital connected world. Another important task of this course is to provide the deep understanding of the difference between cultural and symbolic meaning products (such as films, recorded music, book and periodicals, online media content etc) and other kind of goods. This course will help you to: - Identify main peculiarities of cultural and symbolic goods in their difference with other branches of economy in terms of production chain, risks, relationship between different stages of production. - Be able to analyze cultural products and symbolic goods from the organizational, economic, business model point of view. - Be able to invent new business models and analyze cultural products in terms of their productions risk. - Be able to analyze cultural policies and creative industries/clusters policies. Main prerequisite to this course is to be able to produce analytical texts in humanities. Normally the course addresses all students of master level interested in peculiarities of media and cultural economy and management. This course is strongly not recommended for those who: - Analyse any market or industry only in microeconomic terms (supply and demand, level of competitions etc). This course is not about market but about peculiarities of symbolic goods; - Try to interpret culture only in terms of marketing and management (i.e. culture is considered like a simple good to be sold to the consumer). This course considers it more broadly like a human agency to produce meanings of everyday life. That’s why cultural goods are different and can not be interpreted exclusively in terms of consuming and need more or less state support; - Try to interpret culture like pure “art” and consequently are absolutely not preoccupied by organizational aspect of its working. This course uses a large number of concepts coming from different fields of science: political economy of communications, cultural studies, sociology etc. Some aspects of the course are commented by known scholars in this field such as David Hesmondhalgh (University of Leeds), Phillipe Bouquillion (University Paris 13 Nord), Bernard Miege (Grenoble Alpes University).
Marketing of demand instead of marketing of supply
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From the course by National Research University Higher School of Economics
Cultural and creative industries
1 rating
From the lesson
Main principles of classic cultural industries
We'll talk about peculiarities of cultural goods, models of their commercialization and risks of their production. You will also learn relationships between different actors of cultural production.
Meet the Instructors
Iliya KiriaProfessor
Department of Media
Once it's quite difficult to understand where is the value,
and how the exchange way you can appeal in site,
we have the question, the main question,
how finally cultural industries could function.
How finally they could produce a particular products.
How finally they're able to sell such products to customers.
Here, we should do a reference to
the particular marketing which we call the marketing of demand,
instead of marketing of supply.
What is the marketing of supply?
Marketing of supply means that before doing each product,
you have to assess the market,
to find the niche in this market,
to obtain the particular needs module for a particular product.
And then after that,
try to produce the good or the product which will match this niche and match this demand.
As we said already,
it's quite difficult to do in field of cultural industries,
and in field of somebody's goods in general.
In this case, the next question,
how finally we can cope this risk?
Because if aesthetic needs and taste are so
volatile and are based on so complex model of needs,
and the classic marketing is unable to propose valid tools to predict them,
how finally we can solve the problem of risk?
It's a risky business.
It means that the cultural industry
and the theory of culture industry respond to this question,
and the manner that marketing of supply and other doesn't work in this field.
It could be work partly,
the limited efficiency of marketing of supply could be present but limited, very limited.
Because these limited efficiency
is based on the idea of constant feedback from customers,
adaptation of marketing strategy to real customers' needs et cetera.
But it could be performant in the very limited extent in field of cultural industries.
Why? The response is very simple because if we will take a look on the tools which
marketing researchers are using in order
to predict a particular demand for particular goods,
we will find that all of them are insufficient for media not so efficient for media.
It will take the gaze of measurement of media exposure,
to the measurement of the audiences.
Of course, media exposure doesn't provide information about the attitude to the content.
It provides just the information about the case of viewing,
watching, or not watching,
a case of listening, or not listening.
It doesn't provide any information if the information
which is inside the content has been well understood et cetera.
And especially doesn't provide any information
about what kind of needs such information co-opt,
or deals with inside the audiences.
So, the second tool is
based on some kind of qualitative methods such as interviews,
focus groups et cetera.
It's quite good method, we know it.
But, this method is based on the idea of reflexivity of the customer,
based on the idea that customer is able to make reflections about what he's watching,
what he's thinking about et cetera.
But the media practices and cultural product practices,
it's something about which the ordinary people are not reflexing,
whether I'm thinking about it,
we're coming just to the film and there we are liking or not liking.
We cannot even understand sometimes why.
We can do some conclusions about the film,
about its plot et cetera.
But it's not sure that such conclusions will
provide some necessary information for those who make the film.
If we take the quantitative surveys which are usually used in marketing,
we will find that they make sense for reflection
about content narrower than it is because,
quantitative surveys try to limit the number of
responses or number of variables et cetera.
So, any reflection about the content is much more complex than any questionnaire.
And from this point of view,
it's quite difficult and absolutely unimaginable to do
a quantitative survey before making
the film according to the result of such quantitative survey.
How finally the media industry respond to this problem?
How finally media producers and cultural industry producers act?
Here, this is a citation from the book, The Disney War,
which is the documentary book published at the end of 90s,
and which is about the both Disney Company and the all Disney Company of war.
And here you can find a dialogue between the producer,
and they will say company which ordered the film.
And you can see here that this producer say
that he wouldn't like to go to this film if he's a customer.
So, you can find that all his reflection about the content,
he would like to produce or in which he would like to invest, is absolutely personal.
It's not based on a marketing research.
It's based on his personal idea.
It will work or it will not.
And of course here,
we can find such a dialogue and such dialogue
is about finally the launching of the new film,
film which has been a great success in not only in the United States,
but also in the world,
The Pirates of Caribbean.
And you can see that such can big film which attracted a lot of customers,
and which attracted the big box office.
Finally, the general idea of this film,
what has been, we'll say, elaborate it.
Has been produced not according to particular marketing principle.
That has been produced by personal idea,
personal thinking of a particular producer who said,
"I think it will work."
And it's only like this,
cultural products are produced.
So, instead doing a marketing of supply,
instead doing a particular assessment of the particular niche market et cetera,
we are just doing a thing and just trying to sell it out.
Just trying to force the people to consume,
because they're very appealing after the consumption not before.
So, instead of ongoing market research
and adaptation or constant adaptation of the product to market needs,
cultural industries are using the marketing of demand.
Marketing of demand aims to stimulate customer to consume.
To stimulate customer to permanently watch the films,
to permanently go to the movie theaters,
to permanently watch the TV,
to permanently buy the tracks in iTunes.
So, marketing of demand creates the demand for products
before any value appearance
because the value of the particular product will be after it's consumption.
So, one needs constantly produce and
offer new products in order to experiment with the collective tastes.
If you would like to be a good and profitable producer of any kind of cultural content,
you should do a permanent experiment with a collective taste,
collective forms et cetera.
And if one is sure that the majority of
the products won't attract the customers and won't generate the revenue,
you should at the same time,
should be sure that probably just one product for a dozen will be a real success.
And this is what we call the hit driving industry.
The industry of hits.
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