北美艺术市场营销发展简史
|
摘要
市场营销学是一门相对比较新的学科。艺术营销作为市场营销的一个分支出现在20世纪60年代,社会学家和经济学家首先涉足。20世纪70年代末到90年代美国学者开始了该领域的研究,从2000年开始,欧洲和澳大利亚的学者们则以发表的文章数量领先。目前,市场营销学者的学术研究拓展了关于新的消费者行为调查以及建立在传统营销学4P理论(产品和品牌、价格、地点和推广)基础上的新领域。
引文
(1)Rentschler,R.,“Museum and Performing Arts Marketing:A Climate of Change”,Journal of Arts Management,Law,and Society 28(1):83-96.1998.
(1)Fillis,I.,“The Evolution and Development of Arts Marketing Research”,Arts Marketing:An International Journal 1(1):11-25.2011.
(2)Colbert,F.&Y.St.-James.,“Research in Arts Marketing:Evolution and Future Directions”,Psychology&Marketing 31(8):566-76.2014.
(3)Bartels,R.,The History of Marketing Thought,2nd ed.Columbus,OH:Grid.1976.
(4)Bartels,R.,The History of Marketing Thought,2nd ed.Columbus,OH:Grid.1976.
(5)译者注:巴特尔斯在本书中提到,1948年卡利顿首次使用“市场营销组合”一词来描述在市场决策中所涉及的10个关键因素(市场力量:消费者的购买行为、交易行为、竞争对手的地位和行为、政府行为;营销要素:产品规划、定价、地点、促销、服务、事实查找和分析)。1960年麦卡锡提出了今天仍然广泛使用的营销组合的4个“P”(产品、地点、价格和促销)的概念。
(1)Kotler,P.&S.Levy,“Broadening the Concept of Marketing.”33:10-15.1969.
(2)译者注:http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-64342;jsessionid=2B6CDA8622BF10041E4826586AB289FB
(3)译者注:https://www.charlestonmuseum.org/support-us/about-the-museum/
(4)译者注:https://nyphil.org/about-us/history?clicklocation=main_nav_history
(5)译者注:https://portlandyouthphil.org/about/history/
(6)Colbert,F.et al,Marketing Culture and the Arts,2nd ed.Boucherville,Canada:Chenelièreéducation.1994.
(1)évrard,Y.and F.Colbert,“Arts Management:A New Discipline Entering the Millennium?”,International Journal of Arts Management 2(2):4-13.2000.
(1)Abbey,D.S.&and D F.Cameron,The Museum Visitor:I-Survey Design,Toronto,Canada:Royal Ontario Museum.1959;Abbey,D.S.&D.F.Cameron,The Museum Visitor:II-Survey Results,Toronto,Canada:Royal Ontario Museum,1960;Abbey,D.S.&D.F.Cameron,The Museum Visitor:II-Survey Results,Toronto,Canada:Royal Ontario Museum,1960.
(2)National Endowment for the Arts.Economic Impacts of Arts and Cultural Institutions:A Model for Assessment and a Case Study in Baltimore,Washington,DC:Author.1978.
(3)Baumol,W.J.&W.G.Bowen,Performing Arts-The Economic Dilemma;A Study of Problems Common to Theatre,Opera,Music and Dance,Cambridge,MA:MIT Press.1966.
(4)Gans,H.Popular Culture and High Culture:An Analysis and Evaluation of Taste.New York,NY:Basic Books.1974.
(5)Bourdieu,P.Distinction,A Social Critique of the Judgment of Taste.Cambridge,MA:Harvard University Press.1984.
(6)Andreasen,A.R.and R.W.Belk.,“Predictors of Attendance at the Performing Arts”.Journal of Consumer Research 7:112-220.1980.
(1)Hirschman,E.C.“Aesthetics,Ideologies and the Limits of the Marketing Concept.”Journal of Marketing 47(3):45-55.1983.
(2)Peterson,R.A.“Understanding Audience Segmentation:From Elite and Mass to Omnivore and Univore.”Poetics 21:243-58.1992;Peterson,R.A.,and R.M.Kern.1996.“Changing Highbrow Taste:From Snob to Omnivore.”American Sociological Review 61:900-07;Peterson,R.A.“The Rise and Fall of Highbrow Snobbery as a Status Marker.”Poetics 25:75-92.1997.
(3)Gainer,B.“The Importance of Gender to Arts Marketing.”Journal of Arts Management,Law and Society 23(3):240-52.1993.
(4)Christin,A.,“Gender and Highbrow Cultural Participation in the United States”,Poetics 40:423-43.2012;Colbert,F.&A.Courchesne,“Critical Issues in the Marketing of Cultural Goods:The Decisive Influence of Cultural Transmission.”,City,Culture and Society 3(4):275-80,2012.
(5)Holbrook,M.B.and E.C.Hirschman.,“The Experiential Aspects of Consumption:Consumer Fantasies,Feelings,and Fun.”Journal of Consumer Research 9(2):132-40.1982.
(1)Hirschman,E.C.“Aesthetics,Ideologies and the Limits of the Marketing Concept.”Journal of Marketing 47(3):45-55.1983.
(2)Colbert,F.et al.Marketing Culture and the Arts,2nd ed.Boucherville,Canada:Chenelièreéducation.1994.
(1)Galvagno,M.&D.Dalli,“Theory of Value Co-Creation:A Systematic Literature Review.”Managing Service Quality 24(6):643-83.2014.
(2)我们没有从经济的角度考虑价格分析。许多美国作者已经在文化经济学或经济学领域的主流期刊上,尤其是在艺术作品的价值方面提到了这一观点,我们只考虑了采用营销视角的文章。
(3)Mokwa,M.P.,W.M.Dawson,and E.A.Prieve.Marketing the Arts.New York,NY:Praeger.1980.
(1)Melillo,J.V.Market the Arts!New York,NY:Foundation for the Extension and Development of the American Professional Theater.1983.
(2)Colbert,F.et al.Marketing Culture and the Arts,2nd ed.Boucherville,Canada:Chenelièreéducation.1994.
(3)Kotler,P.,and J.B.Scheff.1997.Standing Room Only:Strategies for Marketing the Performing Arts.Boston,MA:Harvard Business School Press.
(4)Kolb,B.2000.Marketing Cultural Organisations:New Strategies for Attracting Audiences to Classical Music,Dance,Museums,Theatre and Opera.Taylorville,IL:Oak Tree Press.
(1)Fillis,I.,“The Evolution and Development of Arts Marketing Research”,Arts Marketing:An International Journal 1(1):11-25.2011.
(2)Colbert,F.&Y.St.-James.,“Research in Arts Marketing:Evolution and Future Directions”,Psychology&Marketing 31(8):566-76.2014.
(3)Bartels,R.,The History of Marketing Thought,2nd ed.Columbus,OH:Grid.1976.
(4)Bartels,R.,The History of Marketing Thought,2nd ed.Columbus,OH:Grid.1976.
(5)译者注:巴特尔斯在本书中提到,1948年卡利顿首次使用“市场营销组合”一词来描述在市场决策中所涉及的10个关键因素(市场力量:消费者的购买行为、交易行为、竞争对手的地位和行为、政府行为;营销要素:产品规划、定价、地点、促销、服务、事实查找和分析)。1960年麦卡锡提出了今天仍然广泛使用的营销组合的4个“P”(产品、地点、价格和促销)的概念。
(1)Kotler,P.&S.Levy,“Broadening the Concept of Marketing.”33:10-15.1969.
(2)译者注:http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-64342;jsessionid=2B6CDA8622BF10041E4826586AB289FB
(3)译者注:https://www.charlestonmuseum.org/support-us/about-the-museum/
(4)译者注:https://nyphil.org/about-us/history?clicklocation=main_nav_history
(5)译者注:https://portlandyouthphil.org/about/history/
(6)Colbert,F.et al,Marketing Culture and the Arts,2nd ed.Boucherville,Canada:Chenelièreéducation.1994.
(1)évrard,Y.and F.Colbert,“Arts Management:A New Discipline Entering the Millennium?”,International Journal of Arts Management 2(2):4-13.2000.
(1)Abbey,D.S.&and D F.Cameron,The Museum Visitor:I-Survey Design,Toronto,Canada:Royal Ontario Museum.1959;Abbey,D.S.&D.F.Cameron,The Museum Visitor:II-Survey Results,Toronto,Canada:Royal Ontario Museum,1960;Abbey,D.S.&D.F.Cameron,The Museum Visitor:II-Survey Results,Toronto,Canada:Royal Ontario Museum,1960.
(2)National Endowment for the Arts.Economic Impacts of Arts and Cultural Institutions:A Model for Assessment and a Case Study in Baltimore,Washington,DC:Author.1978.
(3)Baumol,W.J.&W.G.Bowen,Performing Arts-The Economic Dilemma;A Study of Problems Common to Theatre,Opera,Music and Dance,Cambridge,MA:MIT Press.1966.
(4)Gans,H.Popular Culture and High Culture:An Analysis and Evaluation of Taste.New York,NY:Basic Books.1974.
(5)Bourdieu,P.Distinction,A Social Critique of the Judgment of Taste.Cambridge,MA:Harvard University Press.1984.
(6)Andreasen,A.R.and R.W.Belk.,“Predictors of Attendance at the Performing Arts”.Journal of Consumer Research 7:112-220.1980.
(1)Hirschman,E.C.“Aesthetics,Ideologies and the Limits of the Marketing Concept.”Journal of Marketing 47(3):45-55.1983.
(2)Peterson,R.A.“Understanding Audience Segmentation:From Elite and Mass to Omnivore and Univore.”Poetics 21:243-58.1992;Peterson,R.A.,and R.M.Kern.1996.“Changing Highbrow Taste:From Snob to Omnivore.”American Sociological Review 61:900-07;Peterson,R.A.“The Rise and Fall of Highbrow Snobbery as a Status Marker.”Poetics 25:75-92.1997.
(3)Gainer,B.“The Importance of Gender to Arts Marketing.”Journal of Arts Management,Law and Society 23(3):240-52.1993.
(4)Christin,A.,“Gender and Highbrow Cultural Participation in the United States”,Poetics 40:423-43.2012;Colbert,F.&A.Courchesne,“Critical Issues in the Marketing of Cultural Goods:The Decisive Influence of Cultural Transmission.”,City,Culture and Society 3(4):275-80,2012.
(5)Holbrook,M.B.and E.C.Hirschman.,“The Experiential Aspects of Consumption:Consumer Fantasies,Feelings,and Fun.”Journal of Consumer Research 9(2):132-40.1982.
(1)Hirschman,E.C.“Aesthetics,Ideologies and the Limits of the Marketing Concept.”Journal of Marketing 47(3):45-55.1983.
(2)Colbert,F.et al.Marketing Culture and the Arts,2nd ed.Boucherville,Canada:Chenelièreéducation.1994.
(1)Galvagno,M.&D.Dalli,“Theory of Value Co-Creation:A Systematic Literature Review.”Managing Service Quality 24(6):643-83.2014.
(2)我们没有从经济的角度考虑价格分析。许多美国作者已经在文化经济学或经济学领域的主流期刊上,尤其是在艺术作品的价值方面提到了这一观点,我们只考虑了采用营销视角的文章。
(3)Mokwa,M.P.,W.M.Dawson,and E.A.Prieve.Marketing the Arts.New York,NY:Praeger.1980.
(1)Melillo,J.V.Market the Arts!New York,NY:Foundation for the Extension and Development of the American Professional Theater.1983.
(2)Colbert,F.et al.Marketing Culture and the Arts,2nd ed.Boucherville,Canada:Chenelièreéducation.1994.
(3)Kotler,P.,and J.B.Scheff.1997.Standing Room Only:Strategies for Marketing the Performing Arts.Boston,MA:Harvard Business School Press.
(4)Kolb,B.2000.Marketing Cultural Organisations:New Strategies for Attracting Audiences to Classical Music,Dance,Museums,Theatre and Opera.Taylorville,IL:Oak Tree Press.