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Books on the topic 'Cultural products'

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Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Canada, Canada Tourism. Inventory of Canadian aboriginal cultural tourism products. Ottawa: Tourism Canada, 1993.

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2

Abrahamsen, Theresa. Consuming culture: Marketing Namibia's cultural tourism products. Windhoek: Ministry of Trade and Industry, 2011.

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3

Voon, Tania. Cultural products and the World Trade Organization. Cambridge: Cambridge University Press, 2007.

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4

A, Plocher Thomas, and Choong Yee-Yin, eds. Cross-cultural design for IT products and services. Boca Raton, FL: Taylor & Francis, 2012.

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5

International Scientific Symposium "Nomadic Cultural Tradition: Mongolian Dairy Products" (2002 Ulaanbataar, Mongolia). Nomadic cultural tradition: Mongolian dairy products : international scientific symposium. Ulaanbaatar: International Institute for the Study of Nomadic Civilizations, 2003.

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6

European Products: Making and Unmaking Heritage in Cyprus. New York: Berghahn Books, 2015.

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7

Rau, Pei-Luen Patrick, ed. Cross-Cultural Design. User Experience of Products, Services, and Intelligent Environments. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49788-0.

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8

1958-, Kim Susan, ed. Flow: The cultural story of menstruation. New York: St. Martin's Griffin, 2009.

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9

Pakhalé, Satyendra. Satyendra Pakhalé, cultural nomad: From projects to products = dal progetto al produtto. Milan: Modo, 2002.

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10

Handbook of research on management of cultural products: E-relationship marketing and accessibility perspectives. Hershey, PA: Business Science Reference, an imprint of IGI Global, 2014.

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11

Branded?: Products and their personalities. London: V&A, 2000.

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12

Uprising: How to build a brand--and change the world--by sparking cultural movements. New York: McGraw-Hill, 2012.

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13

Shurtleff, William. Bibliography of soybean cultural practices, harvesting, and storage: 2,108 references from 120 B.C. to 1990, extensively annotated. Lafayette, CA, USA: Soyfoods Center, 1990.

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14

Handbook of research on effective marketing in contemporary globalism. Hershey, PA: Business Science Reference, An Imprint of IGI Global, 2014.

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15

Bonal, Juan. The economic weight of cultural products and the impact of new technologies: Paper from the conference: "Europe in transition: the cultural challenge", Florence, 1987. [s.l.]: [s.n.], 1987.

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16

Gilbert, Erik. Trading tastes: Commodity and culture exchange to 1750. Upper Saddle River, N.J: Pearson Education, 2006.

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17

Time and commodity culture: Essays in cultural theory and postmodernity. Oxford: Clarendon Press, 1997.

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18

Duxbury, Nancy, Sara Albino, and Cláudia Pato de Carvalho, eds. Creative tourism: activating cultural resources and engaging creative travellers. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0000.

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Abstract This book provides a synthesis of current research and international best practice, including practitioner perspectives and a range of case study examples. It covers types of creative tourist, trends, designing and implementing creative tourism products, embedding activities in a community and place, and addressing sustainability challenges.
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19

Pecero, Alfonso Suárez. Percepciones y discursos culturales en torno al paisaje agavero. Guadalajara, Jalisco, México: Universidad de Guadalajara, Centro Universitario de Arte, Arquitectura y Diseño, Maestría en Gestión y Desarrollo Cultural, 2014.

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20

McCarthy, Bridget Beattie. Cultural tourism: How the arts can help market tourism products, how tourism can help provide markets for the arts. Portland, Ore: B.B. McCarthy, 1992.

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21

Quesenbery, Whitney. Global UX: Design and research in a connected world. Waltham, MA: Morgan Kaufmann, 2012.

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22

Kawatsu, Satoko. Cross-cultural interpretation and meaning in design:an examination of interpretation of Japanese products in the U.K.: MA Communication Design 2002. London: Central Saint Martins College of Art & Design, 2000.

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23

Wen hua chan pin guo ji mao yi fa lü wen ti yan jiu: Study on Legal lssues in the lnternational Trade of Cultural Products. Xiamen Shi: Xiamen da xue chu ban she, 2013.

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24

Marysia, Lewandowska, ed. The value of things. Basel: Birkhäuser, 2000.

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25

Margot, Bouwman, and World Advertising Research Centre, eds. The mental world of brands: Mind, memory, and brand success. Henley-on-Thames, Oxfordshire, U.K: World Advertising Research Centre, 2001.

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26

Lord Cultural Resources Planning and Management Inc. Strategic directions for Ontario's cultural tourism product. [Toronto: LORD Cultural Resources Planning & Management Inc.], 1993.

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27

Lody, Raul Giovanni da Motta. Coco: Comida, cultura e patrimônio. São Paulo, SP: Editora SENAC São Paulo, 2011.

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28

(Firm), Packaged Facts. The U.S. market for cultured dairy products. New York, NY: Packaged Facts, 2005.

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29

Indonesia. Empat undang-undang Republik Indonesia tahun 2010 tentang keprotokolan, UU RI no. 9 th. 2010, gagar budaya, UU RI no. 11 th. 2010, gerakan pramuka, UU RI no. 12 th. 2010, hortikultura, UU RI no. 13 th. 2010. Jakarta: Novindo Pustaka Mandiri, 2011.

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30

Serventi, Silvano. La pasta: Storia e cultura di un cibo universale. Roma: GLF editori Laterza, 2000.

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31

Lord Cultural Resources Planning and Management Inc. Strategic directions for Ontario's cultural tourism product: Technical appendix. [Toronto: LORD Cultural Resources Planning & Management Inc.], 1993.

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32

Willett, Henry. Public folk cultural programs: A survey and product listing. [S.l.]: Public Programs Section, American Folklore Society, 1989.

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33

Rau, Pei-Luen Patrick, ed. Cross-Cultural Design. Experience and Product Design Across Cultures. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77074-7.

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34

Buendía, Felipe Cala. Cultural Producers and Social Change in Latin America. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137462237.

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35

Encuentro, Estatal de Artes Visuales de Nayarit (2000 Tepic Mexico). Artes visuales de Nayarit: Y productos culturales. [Tepic, Nayarit: Gobierno del Estado de Nayarit], 2004.

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36

Remaury, Bruno. Marques et récits: La marque face à l'imaginaire culturel contemporain. Paris: Regard, 2004.

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37

Canada, Tourism, and Canada Industry Canada, eds. Inventory of Canadian aboriginal cultural tourism products. [Ottawa: Industry Canada, 1993.

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38

Rau, Pei-Luen, Tom Plocher, and Yee-Yin Choong. Cross-Cultural Design for IT Products and Services. CRC Press, 2012. http://dx.doi.org/10.1201/b12679.

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39

of, International Institute for the Study. Nomadic Cultural Tradition: Mongolian Dairy Products: International Scientific Symposium. Study of Nomadic Civilizations, 2003.

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40

Tanfer, Emin-Tunc, and Babic Annessa Ann, eds. The globetrotting shopaholic: Consumer spaces, products, and their cultural places. Newcastle: Cambridge Scholars, 2008.

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41

Sherlock, Steve. Performativity of Value: On the Citability of Cultural Commodities. Lexington Books/Fortress Academic, 2013.

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42

Social Responsibility in the Global Market: Fair Trade of Cultural Products. Sage Publications, Inc, 1999.

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43

Social Responsibility in the Global Market: Fair Trade of Cultural Products. Sage Publications, Inc, 1999.

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44

Lee, Sangjoon. Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.001.0001.

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This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.
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45

Metier, ed. Developing and delivering cultural products: National and Scottish vocational qualification level 4. Bradford: Metier, 1997.

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46

Chavan, Apala Lahiri, and Girish V. Prabhu. Innovative Solutions: What Designers Need to Know for Today's Emerging Markets. Taylor & Francis Group, 2017.

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47

Holt, D. B. How Brands Become Icons: The Principles of Cultural Branding. Harvard Business School Press, 2004.

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48

Schultz, Jaime. A Cultural History of the Sports Bra. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038167.003.0007.

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This chapter examines the introduction of the commercial sports bra, one of the products that attested to the 1970s revolution in women's sport. Critics charged that breasts, like menstruation, symbolized women's inferior biology and their unsuitability for sport; but the introduction of the “Jogbra” in 1977 proved a material and symbolic landmark. It also signified a niche market for the product, and its popularity grew throughout the 1980s and into the 1990s. Yet it was Brandi Chastain's 1999 celebration, in which she ripped off her uniform top following her game-winning goal in the Women's World Cup, that proved to be the garment's coming-out party. This marked an increase in visibility of both the sports bra and the sports bra-clad body and inspired cultural conversations about the changing feminine corporeal aesthetic.
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49

Marsh, Clive. Cultural Theology after Tillich. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198811015.003.0003.

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This chapter expounds the cultural-theological method being used in the book. The chapter begins by showing how and why theology has to see itself as a cultural activity which does not simply recreate internal religious discourse. In critical dialogue with the theology of Paul Tillich the chapter goes on to show how engagement with cultural products and practices of all kinds requires theology to look for the Gehalt (the theological import and trajectory) of whatever is being interpreted. The chapter concludes with a summary of five key points about what cultural theology is not, and seven key points outlining what it is.
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50

Voon, Tania. Cultural Products and the World Trade Organization (Cambridge Studies in International and Comparative Law). Cambridge University Press, 2007.

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