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Journal articles 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

Ardielli, Eva. "Participation of EU Member States’ Citizens on Foreign Culture and Cultural Products." INTERNATIONAL JOURNAL OF INNOVATION AND ECONOMIC DEVELOPMENT 5, no. 3 (2019): 58–64. http://dx.doi.org/10.18775/ijied.1849-7551-7020.2015.53.2005.

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Culture is an important topic of the present time. It is at the heart of contemporary debates about identity, social cohesion, and the development of a knowledge-based economy. The international organizations, like UNESCO, OECD, Council of Europe, as well as European Commission are affirming, that respect for the diversity of cultures, tolerance, dialogue and cooperation, in a climate of mutual trust and understanding, are among the best guarantees of international peace and security. Therefore the cultural and creative sectors are considered as very important in European Union countries. The article deals with the issue of the participation of EU citizens on foreign cultures and cultural product as the expression of interest and openness of the citizens of individual EU member countries to get known foreign culture of other EU member state. The willingness of EU citizens to participate in foreign cultures across EU is evaluated based on the indicators describing the level of foreign languages knowledge and the participation in foreign cultural products. The evaluation was performed by usage of multi-criteria decision making methods, of MAPPAC method. As the result of the analyse is evident the different attitude to foreign culture of citizens in individual EU countries.

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2

Smart, Cherry-Ann. "Preserving cultural products." IFLA Journal 43, no. 4 (October 2, 2017): 348–60. http://dx.doi.org/10.1177/0340035217732074.

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Libraries remain crucial for the preservation and dissemination of cultural products in the English-speaking Caribbean. Cultural products span the realm from traditional to contemporary artforms in diverse formats. Technology has facilitated the process allowing cultural intermediaries such as libraries, archives and museums to extend their reach and expand markets. Globalization has also impacted the process, weakening national boundaries to facilitate a polemically viewed transformation. The treatment of cultural products with libraries is an uncommon theme in the literature on Caribbean libraries. This article therefore explores the practices of the Caribbean library in the acquisition, preservation and promotion of the region’s cultural product.

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3

Jakubanecs, Alexander, and Magne Supphellen. "Cultural Embeddedness of Products." International Journal of Market Research 58, no. 2 (March 2016): 301–23. http://dx.doi.org/10.2501/ijmr-2016-016.

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This paper develops a measurement of culture on the product category level, called the cultural embeddedness of products (CEP) scale, and progresses the scale in accordance with standard procedures. It defines CEP as the degree to which a product is connected with ethnic/national culture. The centrality of national/ethnic identity and culture, and its meanings for individuals, lead us to propose CEP as predictive of consumer attitudes and intentions. In particular, we posit that CEP plays a role for local products and potential brands, similar to that played by perceived brand globalness for global brands. We validate a two-dimensional CEP scale in two cultures – American and Norwegian – and find that the scale exhibits good psychometric qualities in both. We also present the particularly consistent effects of the ethnic identity relevance dimension of CEP on attitudes and purchase intentions through perceived product quality. The paper concludes with a discussion of the implications for marketing research theory and practice.

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Coskuner-Balli, Gokcen, and Burçak Ertimur. "Legitimation of hybrid cultural products." Marketing Theory 17, no. 2 (September 13, 2016): 127–47. http://dx.doi.org/10.1177/1470593116659786.

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Cultural hybridization indicates mixing, intermingling, and fusion of cultures that the globalized world enables and produces. Adopting an institutional theoretic framework, this article examines how hybrid cultural products strive for legitimacy in the context of yoga. We conceptualize American Yoga as a hybrid cultural practice that emerged as yoga was reconfigured through dialectical exchanges between India and the West and acquired new forms and meanings in the geographical and cultural sphere of the United States. The findings reveal a series of reterritorialization strategies through which market actors seek to advance moral, cognitive, and pragmatic legitimacy for American Yoga, accompanied by identity, ownership, and authenticity centered tensions. We illustrate reterritorialization as a legitimation process mediated by strategies of market actors and identify unique outcomes in legitimation of hybrid cultural products drawing from polar perspectives on hybridization.

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FENG, Yi, Huajian CAI, and Yuanyuan SHI. "Cultural Products: A Special Perspective for Cultural Psychology." Advances in Psychological Science 21, no. 2 (December 3, 2013): 326–35. http://dx.doi.org/10.3724/sp.j.1042.2013.00326.

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6

Lee, Seung-Eun, and Mary A. Littrell. "Marketing Cultural Products on the Internet: Targeting Cultural Creatives." Clothing and Textiles Research Journal 24, no. 1 (January 2006): 33–45. http://dx.doi.org/10.1177/0887302x0602400103.

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7

Dutra, Cleber, Adriana Mazza, and Leonardo Menezes. "Innovation in Sustainable Products: Cross-Cultural Analysis of Bi-national Teams." Revista de Gestão Ambiental e Sustentabilidade 3, no. 2 (August 1, 2014): 149–64. http://dx.doi.org/10.5585/geas.v3i2.105.

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8

Rodríguez-Ferrándiz, Raúl. "From Cultural Industries to Entertainment and Creative Industries. The Boundaries of the Cultural Field." Comunicar 18, no. 36 (March 1, 2011): 149–56. http://dx.doi.org/10.3916/c36-2011-03-06.

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This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El artículo analiza la tendencia actual a la dilución del concepto de «industrias culturales» en fórmulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografía reciente especializada, acotamos el alcance y los solapamientos entre los términos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», íntimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnológicas de los productos culturales, a cambios en la titularidad de sus proveedores, así como de los roles de autor, actor y espectador. Para entender esta mutación recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clásico a la maleabilidad y convertibilidad que permiten las nuevas tecnologías, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentación participante, en constante circulación, mancomunada y lúdica; 3) de una aspiración a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones más ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomía de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (más placentero que el primero y más trascendente y esforzado que el segundo), también alcanza a borrar los límites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).

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9

Alm, Erika, Pia Laskar, and Cathrin Wasshede. "Cultural products in flux: an introduction." Culture Unbound 8, no. 3 (February 7, 2017): 187–92. http://dx.doi.org/10.3384/cu.2000.1525.1683187.

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10

Wang, Georgette, and Emilie Yueh-yu Yeh. "Globalization and hybridization in cultural products." International Journal of Cultural Studies 8, no. 2 (June 2005): 175–93. http://dx.doi.org/10.1177/1367877905052416.

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11

Zedková, Alena. "POSSIBILITIES OF DYNAMIZATION OF CULTURAL TOURISM PRODUCTS." Acta academica karviniensia 16, no. 3 (September 30, 2016): 62–73. http://dx.doi.org/10.25142/aak.2016.025.

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12

Clarke, David. "Theorising the role of cultural products in cultural diplomacy from a Cultural Studies perspective." International Journal of Cultural Policy 22, no. 2 (September 16, 2014): 147–63. http://dx.doi.org/10.1080/10286632.2014.958481.

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13

White, Roger, and Bedassa Tadesse. "Immigrants, cultural distance and U.S. state-level exports of cultural products." North American Journal of Economics and Finance 19, no. 3 (December 2008): 331–48. http://dx.doi.org/10.1016/j.najef.2008.08.001.

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14

Zhang, Yuyao. "Sustainable Design of Cultural Creative Products Based on Museum Cultural Derivatives." IOP Conference Series: Materials Science and Engineering 573 (August 2, 2019): 012035. http://dx.doi.org/10.1088/1757-899x/573/1/012035.

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15

Lee, Mi-Sook, and Kyung-Hee Chung. "Market Analysis of Cultural Products Sold in Jeonnam Cultural Tourism Festivals." Journal of the Korean Home Economics Association 48, no. 1 (January 30, 2010): 97–110. http://dx.doi.org/10.6115/khea.2010.48.1.097.

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16

Park, Jeong-Ae. "Globalization and Cultural Products of Korean Artists." Journal of Research in Art Education 19, no. 2 (April 30, 2018): 1–18. http://dx.doi.org/10.20977/kkosea.2018.19.2.1.

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17

sun young kim. "Domestic Research Trends in Fashion Cultural Products." Journal of Korea Design Forum 23, no. 2 (May 2018): 61–72. http://dx.doi.org/10.21326/ksdt.2018.23.2.006.

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18

Scott, Allen J. "Cultural-Products Industries and Urban Economic Development." Urban Affairs Review 39, no. 4 (March 2004): 461–90. http://dx.doi.org/10.1177/1078087403261256.

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19

Kirpalani, V. H. Manek, and Reijo K. Luostarinen. "Development of Cross-Cultural Management Training Products." Vision: The Journal of Business Perspective 3, no. 1 (January 1999): 14–22. http://dx.doi.org/10.1177/097226299900300103.

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20

Craig, C. Samuel. "Creating cultural products: Cities, context and technology." City, Culture and Society 4, no. 4 (December 2013): 195–202. http://dx.doi.org/10.1016/j.ccs.2013.06.002.

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21

Han, Liyu. "Cultural products, copyright protection and trade rules." Frontiers of Law in China 4, no. 2 (May 20, 2009): 196–216. http://dx.doi.org/10.1007/s11463-009-0012-5.

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22

Moon, Sangkil, Arul Mishra, Himanshu Mishra, and Moon Young Kang. "Cultural and Economic Impacts on Global Cultural Products: Evidence from U.S. Movies." Journal of International Marketing 24, no. 3 (September 2016): 78–97. http://dx.doi.org/10.1509/jim.15.0080.

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23

Thanikkad, Jaseela, and Shanimon S. "Cultural Tourism Centers - A Geographical Presentation of Cultural Tourism Products in Kerala." International Journal of Tourism and Hospitality 2, no. 1 (May 1, 2022): 8. http://dx.doi.org/10.51483/ijth.2.1.2022.8-14.

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24

Amirkhanova, Zhanar, Rahat Bodeeva, Saule Akhmetova, Altynay Tuyakova, and Saken Kozhakhmetov. "Maldi mass spectrometry for identification lactic acid bacilli isolated from lactic acid products produced in the Karagandy region." Bulletin of the Karaganda University. “Biology, medicine, geography Series” 103, no. 3 (September 29, 2021): 18–25. http://dx.doi.org/10.31489/2021bmg3/18-25.

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At present the traditional methods of identifying microorganisms are replaced by express methods, the mass spectrometric method using MALDI-TOF MS allows to reliably identify a variety of microorganisms in a short time, which is an indisputable advantage in work and allows to quickly identify many microorganisms in quickly. Classical methods for the identification of lactic acid bacteria based on their cultivation require a long time for their implementation. The advent of matrix laser desorption ionization time-of-flight mass spectrometry (MALDI-TOF MS) technology made significant changes in the workflows for the study of lactic acid bacteria, unmatched in speed characteristics. This article presents the study of the morphological, cultural properties, acid-forming ability, antibiotic sensitivity lactic acid bacteria of isolated from products (ayran, koumiss, ashykan kozhe, kurt, suzbe, cottage cheese) produced in different districts of the Karaganda region. The species identification of the isolated strains of lactic acid bacteria was carried out using a MALDI-TOF mass spectrometer. The studies carried out on cultural and morphological characters indicate that they belong to the genus Lactobacillus, Lacticaseibacillus, Lactiplantibacillus, Limosilactobacillus. As a result of identification on the mass spectrometer of the presented samples L. acidophilus (2 strains), L. delbrueckii subsp. bulgaricum (2 strains), L. rhamnosus (7 strains), L. plantarum (2 strains), L. paracasei (11 strains), L. fermentum (2 strains) were revealed. According to the Score values, the results indicate the accuracy of the identification.

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25

Wu, Yinglu. "Design of Tourism Cultural and Creative Products Based on Regional Historical and Cultural Elements." E3S Web of Conferences 251 (2021): 03004. http://dx.doi.org/10.1051/e3sconf/202125103004.

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Regional historical culture is a special cultural system gradually formed after a long period of historical accumulation, which integrates regional cultural characteristics and spiritual connotations. Tourism cultural and creative products are high value-added industries in the tourism industry, and there is a lack of regional, historical and cultural element characteristics in some designs. Incorporating historical and cultural elements into the design of cultural and creative products, combining regional tourism resources with cultural and creative design, and imparting regional era characteristics to tourism projects, can promote the development of tourism, cultural and creative design industry and tourism economy. How to use regional historical and cultural elements in the design of tourism cultural and creative products has become an important research content of tourism cultural and creative product design. In this paper, the design of tourism cultural and creative products is the research content, using field research, questionnaire survey, analytic hierarchy and other methods, based on regional historical and cultural elements, to explore the design methods of tourism cultural and creative products.

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26

Wang, Yi, Sichao Fan, and Meng Shi. "Symbol Condensation and Design of Cultural & Creative Products in Regional Cultural Context." E3S Web of Conferences 179 (2020): 02097. http://dx.doi.org/10.1051/e3sconf/202017902097.

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The attractiveness of cultural & creative products on spreading and “recurring” regional culture is the key to the shaping of urban culture. In this paper, starting from the differences of regional cultural contexts, we discussed the explicit culture and implied culture in cultural symbols and put forward new ideas on regional cultural context reconstruction and symbol condensation and conversion. The symbolic design of cultural & creative products in the cultural context of Spring Festival education in Xi’an was taken as an example here, and the method proposed herein was further clarified through cultural context reconstruction of “Yanta Praying” activity and symbolic design of educational & cultural products.

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27

Li, Yufen. "Refinement and Drawing Lessons from Traditional Chinese Cultural Elements for Cultural and Creative Product Design." Proceedings of Business and Economic Studies 4, no. 4 (August 27, 2021): 89–92. http://dx.doi.org/10.26689/pbes.v4i4.2391.

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Chinese culture has been continuously developing for 5000 years of historical development. Its traditional culture has had an impact on social development, and this traditional culture is rooted in the development of the society. The traditional Chinese culture also has certain significance for the design of modern cultural and creative works, which does not only inject vitality for cultural and creative products, but it also enhances the artistry of cultural and creative products. Therefore, based on this, this paper expounds the concept of traditional Chinese culture with cultural and creative products, analyzes the value of traditional culture in cultural and creative products, and explores how to refine and draw lessons from traditional Chinese cultural elements in the process of cultural and creative product design.

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28

Van Peer, W. "“High”/“Low” Cultural Products and Their Social Functions." Empirical Studies of the Arts 15, no. 1 (January 1997): 29–39. http://dx.doi.org/10.2190/hjmk-p7y6-w282-7wh0.

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This article discusses the opposition between “high” and “low” forms of culture as related to the emergence of literacy in society. Some empirical evidence (for the differences between high and low artistic products in terms of object properties and users' expectations) is discussed. The origin of the difference lies, so the argument runs, in the codification of high products and values through the writing system, which can subsequently act as external and independent quality control. Hence the acquisition of literacy is indicative and mimetic with respect to the initiation into high culture. Especially, the processes of self-control that are needed to master literacy, reflect the requirements of high culture. In this perspective, the “debate” on the opposition between high and low culture is seen as largely uninformative. On the one side, the opposition (linked, as it is, to literacy) is an inescapable one for industrialized societies, and takes on the form of a feed-back mechanism. On the other hand, we lack reliable empirical evidence about the influence of both forms on society. It is therefore up to empirical studies to eliminate the main ingredients that feed the antipathy between high and low forms: ignorance and fear.

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29

Rolbina, Marianna. "International Replication of Cultural Products: A Configurational Approach." Academy of Management Proceedings 2018, no. 1 (August 2018): 17847. http://dx.doi.org/10.5465/ambpp.2018.17847abstract.

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30

Debabi, Mohsen. "Contribution of cultural similarity to foreign products negotiation." Cross Cultural Management: An International Journal 17, no. 4 (October 26, 2010): 427–37. http://dx.doi.org/10.1108/13527601011086612.

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31

Neathery-Castro, Jody. "Canada as multilateral player: Trade in cultural products." Canadian Foreign Policy Journal 18, no. 1 (March 2012): 76–91. http://dx.doi.org/10.1080/11926422.2012.674377.

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32

Orefice, Gianluca, and Gianluca Santoni. "Exporting creative and cultural products: Birthplace diversity matters!" World Economy 41, no. 7 (April 15, 2018): 1867–87. http://dx.doi.org/10.1111/twec.12649.

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33

Yaveroglu, Idil Sayrac, and Naveen Donthu. "Cultural Influences on the Diffusion of New Products." Journal of International Consumer Marketing 14, no. 4 (May 8, 2002): 49–63. http://dx.doi.org/10.1300/j046v14n04_04.

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34

이은진, 조효숙, and 김선경. "Development of Traditional Cultural Products Using Persimmon Dyeing." Research Journal of the Costume Culture 15, no. 6 (December 2007): 1053–62. http://dx.doi.org/10.29049/rjcc.2007.15.6.1053.

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35

Given, Jock. "Review: Cultural Products and the World Trade Organization." Media International Australia 133, no. 1 (November 2009): 172–73. http://dx.doi.org/10.1177/1329878x0913300143.

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36

Kreuzbauer, Robert, and Joshua Keller. "The Authenticity of Cultural Products: A Psychological Perspective." Current Directions in Psychological Science 26, no. 5 (October 2017): 417–21. http://dx.doi.org/10.1177/0963721417702104.

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Authenticity is a central concern in the evaluation of cultural products. But why do people judge some cultural products as more authentic than others? We provide a psychological explanation centered on the judgment of authenticity as a “truth-seeking” process. Observers evaluate whether the perceivable features of the cultural product truthfully capture cultural knowledge as well as the inferred agency control and intentionality of the producer as a conveyer of cultural knowledge. We argue that while no cultural product is inherently authentic, individuals rely on the same psychological processes when judging cultural products’ authenticity. We discuss how our approach applies to any cultural product, including art, architecture, cuisine, tourism, and sports.

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37

Pavez, F., A. Alcántara, E. Saura, G. Pérez, and P. Marset. "The cultural products analysis in medicine and psychiatry." European Psychiatry 33, S1 (March 2016): S156. http://dx.doi.org/10.1016/j.eurpsy.2016.01.288.

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IntroductionAs the psychopathological constructs have been influenced by scientific and cultural paradigms of its time, culture reflects and determines the way of understanding health and disease. The knowledge generated is integrated to the cultural wealth and it continues its development by interacting with culture, thus the ideas of mental illness and its treatment vary according to culture and beliefs of a given population in a given time.ObjectivesTo propose a framework for analysis through the examination of cultural products. We argue that this strategy can give us some clues about how the general population understands mental illness and the psychiatric work.MethodsA review of the literature available about social representations of science, medicine, illness and psychiatry, through cultural products analysis.ResultsThere are many works that address the presence of these issues in the social imaginary by analyzing cultural products. In the field of psychiatry, the analysis of films, literature and music (the last, in a lesser extent) are the most frequent.ConclusionsThe analysis of cultural products can be a source of additional knowledge that connects us with the social representations of our profession and its scope of practice, favoring a better understanding about what psychiatry and mental illness means for our patients and general population.Disclosure of interestThe authors have not supplied their declaration of competing interest.

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38

Cerulo, Karen A. "Analyzing cultural products: A new method of measurement." Social Science Research 17, no. 4 (December 1988): 317–52. http://dx.doi.org/10.1016/0049-089x(88)90007-5.

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39

Aaltio-Marjosola, Iiris. "Gender stereotypes as cultural products of the organization." Scandinavian Journal of Management 10, no. 2 (June 1994): 147–62. http://dx.doi.org/10.1016/0956-5221(94)90017-5.

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40

Kyrylenko, Volodymyr, and Tetiana Fedorenko. "Economic nature of cultural industries and their products." Strategy of Economic Development of Ukraine, no. 48 (June 1, 2021): 56–67. http://dx.doi.org/10.33111/sedu.2021.48.056.067.

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41

Lin, Chih-Pin, and Tse-Ping Dong. "The antecedents and consequences of exporting cultural products." International Marketing Review 38, no. 3 (April 1, 2021): 487–513. http://dx.doi.org/10.1108/imr-11-2019-0262.

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PurposeAlthough recent models of place branding have proposed culture as a crucial element in establishing a strong place or nation brand, the way in which cultural products influence the brand equity of other products from the same nation has not yet been studied. This study aims to argue that when a nation has strong legal institutions, as perceived by investors and managers, it offers fertile soil for cultivating cultural products that, when exported, can act as “cultural ambassadors,” promoting the country image in the minds of consumers and the value of the country's brands.Design/methodology/approachExports of cultural products are provided by UNESCO. Valuable brands are those that brand finance included in its global top 500 most valuable brands list. The rule of law is provided by the World Bank. Panel regression models are used.FindingsSupporting the hypotheses, exports of cultural products show positive effects on the value of brands from that country, and the rule of law shows positive effects on exports of cultural products.Practical implicationsPolicymakers could improve the brand value of local firms by promoting exports of cultural products. To do so, policymakers should initiate judicial reforms that strengthen the rule of law to protect contracts and property rights.Originality/valueThis study examines the hitherto underexplored effects that a country's cultural product exports have on the brand value of firms from that country. Most prior research has focused on factors affecting imports of cultural products.

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Jin,, Hye Ryeon, and Kyeong Mi Kim,. "Development of Cultural Tourism Products in order to Strengthen Regional Identity - With emphasis on Jeonju Hanok Village's cultural tourism products -." Journal of Cultural Product and Design 46, no. 1 (September 30, 2016): 91–101. http://dx.doi.org/10.18555/kicpd.2016.46.9.

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43

HERDAǦDELEN, AMAÇ, and HALUK BINGOL. "A CULTURAL MARKET MODEL." International Journal of Modern Physics C 19, no. 02 (February 2008): 271–82. http://dx.doi.org/10.1142/s012918310801208x.

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Social interactions and personal tastes shape our consumption behavior of cultural products. In this study, we present a computational model of a cultural market and we aim to analyze the behavior of the consumer population as an emergent phenomena. Our results suggest that the final market shares of cultural products dramatically depend on consumer heterogeneity and social interaction pressure. Furthermore, the relation between the resulting market shares and social interaction is robust with respect to a wide range of variation in the parameter values and the type of topology.

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44

Jasam., Dr Sana Ahmad. "Existential presence and its relation to cultural alienation With high school teachers." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 2 (September 1, 2017): 347–64. http://dx.doi.org/10.36473/ujhss.v221i2.440.

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Address our marked with (Environmental product between need, Customs and application) to examine the concept of need and the custom of the product of environmental as well as the possibility of employment of the product of environmental products in a contemporary, has emerged as the importance of research needs and the basic needs of secondary school and its relation to custom and tradition. Find out the set of results, including Basic needs and secondary schools are the foundation to create a product ecosystem Affect religious practice largely on the nature of the constituent motifs and colors used in the product and then comes the environmental heritage and historical social custom then, according to the sequence 3. Possible to employ the product's environmental products developed using modern raw material after treatment with the same permanence to enable some to gain employment or visual appearance of materials in the products of materials in the products of modern environmental

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45

Chen, Steven. "Cultural technology." International Marketing Review 33, no. 1 (February 8, 2016): 25–50. http://dx.doi.org/10.1108/imr-07-2014-0219.

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Purpose – The purpose of this paper is to outline a framework for marketing cultural goods (e.g. music) to global markets by examining modes of entry and positioning strategies used by media producers of the South Korean music industry. Design/methodology/approach – An historic analysis was implemented to investigate the modalities and structures through which cultural products are produced and disseminated. Data for this study came from 314 articles collected from www.allkpop.com, a leading English-language, South Korean popular culture news site. Findings – The cultural technology framework consists of the institutionalization of cultural technology, exportation of cultural content, collaborations with local talent, and joint ventures with local markets. Research limitations/implications – The findings emerge from an analysis of South Korean popular music industries, and further research is needed to generalize the results across cultural industries. Practical implications – The cultural technology framework can be applied to cultural industries such as music, film, comics, and art, where culture and language could be barriers to adoption. Originality/value – This study outlines a framework for the modes of entry and positioning strategies of cultural goods (e.g. music) in international markets. Extant literature has examined global marketing from the purview of durable consumer goods and brands, with limited insights into cultural products. More broadly, this paper addresses the call for more qualitative inquiry into international marketing topics.

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Chen, Weidong, and Jingxia Shi. "The ‘Specificity’ of Cultural Products versus the ‘Generality’ of Trade Obligations: Reflecting on ‘China – Publications and Audiovisual Products’." Journal of World Trade 45, Issue 1 (February 1, 2011): 159–86. http://dx.doi.org/10.54648/trad2011006.

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Cultural products present themselves dually, as both commercial objects and assets that convey values and identity. The recently decided WTO case of China – Publications and Audiovisual Products provides an opportunity to examine the interface between the ‘specificity’ of cultural products and the ‘generality’ of trade obligations. Based on the DSB reports, this comment centres its analysis on four key issues: the UNESCO Convention as cultural defence, the application of the ‘public morals exception’ to cultural products, the distinction and overlap between cultural goods and services, and the degree to which culture can determine the ‘likeness’ between imported and domestic cultural products. This comment concludes with remarks on the case decisions, lessons China might have learned, and the necessity of reconciling free trade with cultural diversity in the context of economic globalization. The flame knows no rest, for it lives in perpetual conflict between two opposite tendencies. On the one hand, it cleaves to its wick, drinking thirstily of the oil that fuels its existence. At the same time, it surges upward, seeking to tear free of its material tether. – Yanki Tauber, Beyond the Letter of the Law

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Lee, Yuri, Soyoung Kim, Yoo-Kyoung Seock, and Yunjin Cho. "Tourists' attitudes towards textiles and apparel-related cultural products: A cross-cultural marketing study." Tourism Management 30, no. 5 (October 2009): 724–32. http://dx.doi.org/10.1016/j.tourman.2008.10.007.

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Wang, Yu‐Han. "Involving Cultural Sensitivity in the Design Process: A Design Toolkit for Chinese Cultural Products." International Journal of Art & Design Education 39, no. 3 (June 29, 2020): 565–84. http://dx.doi.org/10.1111/jade.12301.

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Fang, Jiansong, and Wei Deng. "Design of Lingnan Cultural Gene Implantation Cultural and Creative Products Based on Virtual Reality Technology." Mathematical Problems in Engineering 2021 (April 5, 2021): 1–9. http://dx.doi.org/10.1155/2021/5554360.

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With the development of virtual reality technology, people are increasingly aware that the combination of virtual reality technology and product design can enable companies to obtain stable profits and maintain long-term competitive advantages. And design evaluation plays a pivotal role in a large number of important decisions in product development. This article takes Lingnan culture and cultural products as an example, combining virtual reality technology with the design of Lingnan cultural and creative products, verifies the effectiveness and rationality of the virtual evaluation system of Lingnan cultural products through the evaluation of examples of Lingnan cultural products, and proposes amendments to the evaluation case. This paper constructs a product design evaluation system based on virtual reality technology and designs a theoretical model VR, which is the application of virtual reality technology in product design evaluation. The PDES system expounds the idea and method of constructing the system model. This paper studies the evaluation object, evaluation content, evaluation method, evaluation platform, and manifestation of evaluation results of the Lingnan cultural product virtual evaluation system and builds the framework of the Lingnan cultural product virtual evaluation system. This paper studies the product display method based on virtual reality technology and realizes the three-dimensional display of products on the Internet and the design of user interaction in virtual reality. In this paper, the two algorithms BRSK and SURF are used together, and the multiscale expression characteristics of BRISK in space and the rotation invariant characteristics of SURF are used. Experimental research shows that, compared with the pure BRISK algorithm, the rotation performance of the method in this paper can be seen through the experimental results in this paper to have better accuracy. The method in this paper ensures the accuracy and accuracy of matching as much as possible.

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Manczak, Iryna. "Cultural Institutions as Distribution Links of City Marketing Products." Marketing i Zarządzanie 45 (2016): 73–81. http://dx.doi.org/10.18276/miz.2016.45-06.

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