Edited By Philippe Bouquillion and François Moreau
The assessment of the challenges of digital platforms for cultural industries raises many different issues. How platforms choices in content pricing affect the overall value of cultural markets, especially in the case where content just aim at favoring devices’ sales? How are revenues shared between platforms and content right holders? Do creators and artists all benefit from the growth of digital platforms? How usual business models of cultural industries have to adapt to the digital paradigm? Should we observe rather a reinforcement of the star system or the emergence of a long tail? What is the impact on market concentration? Could we expect an increase or a decrease in cultural diversity? What is the role played by recommender systems, playlists and algorithms in influencing consumers’ choices? How to implement efficient public policies given the transnational dimension of digital platforms? The various papers gathered in this book contribute further to these different topics with a focus on empirical issues. The first part gathers the contributions dealing with the analysis of the impact that digital platforms have on the incumbent or legacy players of the original value chain of content industries: content providers, live entertainment producers, consumers, etc. The second part opens the black box of the ecosystem of digital platforms by studying competition among them and among the business models they adopt, as well as the conditions for the emergence of new players.
Digital Platforms and Performing Arts: Communication of Theatrical Institutions, Audience Development, and Platform Strategies of Industrial Players (Bellavoine, Christine / Bouquillion, Philippe / Wiart, Louis)
Digital Platforms and Performing Arts: Communication of Theatrical Institutions, Audience Development, and Platform Strategies of Industrial Players
A Case Study of the Gérard Philipe Theater, National Drama Center (CDN) in Saint-Denis
Christine Bellavoine, Philippe Bouquillion, and Louis Wiart
What are the new issues raised by digital platforms for the performing arts in France, especially for the so-called quality public theater? This will be the main focus point of this paper.
This investigation stems from a request formulated by the managers of the Théâtre Gérard Philipe (henceforth TGP),1 located in Saint-Denis, near Paris. Created in 1960, this institution’s creations are seen as being artistically demanding. The managers of the TGP were concerned about a variety of issues: the increasing role played by ticketing platforms in selling theater tickets in France, the importance of new forms of communication and public relations in connection with the Internet, the control that large industrial groups have over ticketing platforms and digital communication devices, as well as the rise of powerful players organized industrially – such as LiveNation in the live music industry. The live performance industry is indeed subject to deep transformations which tend to turn its organization into an industrial one: corporate groups such as Vivendi or Lagardère, or players from the finance world such as FIMALAC, are acquiring theaters, production companies, booking agencies, and ticketing←41 | 42→ platforms. They are also developing in digital media, especially on social...
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