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After the adoption of the Unesco Convention on Cultural Diversity in October 2005, the issue of what may favour diversity of production in the media and cultural industries has become even more crucial. On the other hand there has been a long tradition of economic analysis of diversity of production. However, the analysis so far has had 2 flaws. Fi...
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... This research builds on existing research on access to content and cultural diversity in media economics, sociology and communication sciences. Cultural diversity in the movie industry (Moreau & Peltier, 2004;Lévy-Hartmann, 2011), TV networks Hellman, 2001McDonnald & Lynn, 2004), recording companies (Ranaivoson, 2010), publishing (Benhamou and Peltier, 2007), and broadcasting (Farchy and Ranaivoson, 2011). Also more recent studies have explored exposure diversity in terms of algorithmic news curation on social media platforms (Wojcieszak et al, 2022;Jurgers & Stark, 2022). ...
... Tabla 1. Indicadores relevantes para la medición del mercado musical Porcentaje de distribuidores independientes Equilibrio de novedades de acuerdo con su origen Número de novedades Diversidad de distribuidores Número de novedades nacionales Número de certificaciones de ventas (discos de oro, platino…) Porcentaje de novedades nacionales Porcentaje de producción nacional Fuente: Ranaivoson, 2010. Datos obtenidos de la IFPI También centrado en la medición de la diversidad en un determinado mercado cultural es el trabajo realizado por Benhamou y Peltier (2007) sobre la industria editorial del libro en Francia. ...
UNESCO’s approval of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO, 2005) has been an important element in catalyzing any attempt to measure the diversity of cultural industries (UIS, 2011). Within this framework, this article analyzes the relations between the music and radio industries in Spain from a critical perspective through the analysis of available data on recorded music offer and consumption (sales lists, radio-formula lists, the characteristics of the phonographic and radio markets) in different key moments due to the emergence of new formats and devices (CDS, Mp3, Internet).The main goal of this work is to study the evolution of the Spanish record market in terms of diversity from the end of the 1970s to the present, through the study of radio music hits lists and, the business structure of the phonographic and radio sectors, and phonograms top sales
... In order to check the robustness of our conclusion in the music sector, for which the data appear to be even more affected by the collapse of physical sales, we perform the main regression using an alternative dataset. Relying on data provided by the Industrial Federation of the Phonographic Industry (IFPI) and its national branches, Ranaivoson (2010) computed Shannon concentration indices for the origin of music imports for 72 countries, including 32 developing countries, from 1992 to 2005. Clustered Robust t-statistics (at the country level) in parentheses ***, ** and * denoting significance at the 1%, 5% and 10% level ...
This research reviews relevant definitions, causes, and results on competition, pluralism, and diversity as concepts applied to the media industry, which have tended to be studied in a parallel but isolated way. A Media Plurality Model is thus proposed to integrate the mentioned notions and be applied at four levels of analysis: environments, competitors, contents, and audiences. The notion of media plurality is not intended to substitute competition, pluralism, and diversity but rather to integrate them and give them more precise meaning. Consequently, it is understood that their basic domains are economic, institutional, and cultural, respectively. Resumen Esta investigación revisa las definiciones, causas y resultados relevantes sobre la competencia, el pluralismo y la diversidad como conceptos aplicados a la industria de la comunicación. Han tendido a ser estudiados de una manera paralela, pero aislada. Por ello, se propone un Modelo de Pluralidad Mediática, que integra las nociones anteriores y que se aplica en cuatro niveles de análisis: entornos, competidores, contenidos y audiencias. La noción de pluralidad mediática no pretende sustituir a las de competencia, pluralismo y diversidad, sino integrarlas y dotarlas de un significado más preciso. Se entiende, por tanto, que sus dominios básicos son respectivamente el económico, el institucional y el cultural.
This paper studies how the geographical distribution of imports, in the audiovisual sector, varies with aggregate income across countries to confront existing fears of cultural homogenization with increasing purchasing power. Relying on new predictions derived from an heterogenous firms model (Helpman, Melitz & Rubinstein, 2008), two dimensions of diversity are investigated: the number of geographical origins (extensive margin) and the distribution of audiovisual imports across exporters (intensive margin). The empirical results reveal that per capita income fosters diversity up to point: income first has a positive impact on the extensive margin, yet beyond a certain threshold, the number of import sources declines. Regarding the intensive margin, per capita income reinforces the concentration of import flows across origins benefiting the most efficient partners.
