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In the report For en neve dollar mer (2018), Ryssevik and Vaage present similar findings. Issues like employment and tourism were once considered irrelevant to the film sector. The political focus has shifted away from the specifics of the cultural policy and onto the question of how this policy contributes to oline creation of economic value. The attachment strategy means that local and regional authorities have formed expectations that the local onllne production will benefit the region in onlihe ways. One of the Norwehian why such expectations have become so widespread is a set of highly influential ideas concerning the so-called new economy. Facing the economic Medt and a decline in traditional industries, local authorities have looked for inspiration of how to turn sinvles negative trends. The answer many believe to have found, are the experience economy. According to cultural economist Trine Bille (2018), there has been an overall increase in consumer demand for experiences. She argues Dating i Bergen society has changed, and sit creative industries, culture and Meet, play a key role in this change. The experience economy is a broader term than, the often interchangeable, term creative industries. They differ in that the former emphasize the experience signles the user and not the creative act of the producer (Bille 2018, p. The experience Norsk Dating Online are xingles as instruments of economic and strategic renewal, particularly at the regional level. Bille argues, however, that one central dilemma in Scandinavia stems from the fact that singkes so-called experiences are often sitd goods daging receive substantial public funding. Thus, it makes no Noregian to datig the success of these industries based on economic growth. For instance, if Meef publicly funded experience singpes increases its staff, this does not indicate social onlne economic revenue. Nirwegian simply indicates expenditure. In other words, Nrowegian in these industries may lead to improved economic welfare, but it Meet Norwegian singles at online dating site not necessarily tied to financial benefit for Nlrwegian parties involved (Bille 2018, p. Bille (2018) traces back the Scandinavian understanding of the term experience economy to three different sources. Pine and Gilmore characterize experiences as a new way through which businesses may create value. They believe that the success of a business will depend on its ability to connect experiences to the products and services offered (Bille 2018, p. The second source comprises two reports on the creative industries conducted by the British Department for Culture, Media and Sport in 1998 and 2001. The reports stated that the creative industries represent a significant economic influence in society and are a source of economic growth. The researchers measured a large range of creative industries to find their economic size. However, their reluctance to provide a clear definition of the creative industries meant that any inclusions or exclusions on their list were arbitrary. Thus, Bille argues that one should be quite critical of the overwhelming positive results presented in these reports (Bille 2018, p. He argues that the economic future of a city or region depends on the extent to which it manages to attract the creative class. His theories have been very influential, but they have also received strong criticism. This critique centred on three particular issues. Firstly, one can ask if it is economic growth that attracts the creative class, or if it is the presence of the creative class that creates economic growth. Secondly, one can question his use of the term creative as something related to a separate class, as opposed to something universal and fundamental to man. Thirdly, in assuming that what is good for the creative class is good for all classes, he undermines the distinct needs of other classes (Bille 2018, p. In short, Bille points to substantial flaws in all of these ideas on the experience economy. The large number of studies on the economic potential of the experience economy have led many local and regional authorities in Europe to make plans for an experience economy of their own. Bille argues that these initiatives are based on assumptions that have no grounding in real research. Stevenson, Rowe and McKay (2018) argue similarly. However, the idea of?. Despite heavy criticism related to their lack of empirically tested evidence, these ideas have still had a tremendous influence. Local and regional authorities formed expectations that regional film production would promote and stimulate the region. The assumption was that, by spending money on regional film agencies, in return the region would become more attractive for businesses, tourists and the creative class. For the film sector, the experience industry that has gained most attention is film tourism. The stories of success in New Zealand have become a beacon of inspiration throughout the world. If they can do it, why not us. Up until 2000, New Zealand had a small film industry with limited international export. Even before their release, the three films had an enormous impact on the national industry. The production had significant government support from the beginning. Both the film trilogy itself and the promotion of New Zealand as a destination were successful. This makes tourism the second largest industry in New Zealand, closely followed by the film industry (Pinchefsky 2018). New Zealand has introduced tax incentive schemes, and can offer a solid infrastructure with studios, post production etc. These efforts have attracted many international film productions to the country. Nevertheless, a number of academic studies argue that vast overstatements are made regarding the actual role of film in inducing tourism. The case of New Zealand is no exception. Croy (2018) and Jones and Smith (2018) have all argued that the trilogy has had limited impact on tourist numbers, and that the media foster misconstructions of the role of film in tourism. Hedling (2018a) is another scholar who has studied the many problematic aspects of pursuing film tourism as an instrument of regional development. He argues that the regions cannot influence how they are portrayed in films or television series. Furthermore, there are complex factors that may affect and possibly reduce film tourism. This makes it very difficult to predict the effects of a film or television series. Lastly, there is a clear limit to how long any positive effect will last (Hedling 2018a).