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Vestheim defines an instrumental art and cultural policy as a policy that uses cultural areas and cultural investment as an instrument for achieving non-cultural objectives (Vestheim 1994, p. Thus, an instrumentalization means a shift in focus away from the role of arts and cultural policy within Stwvanger own sectorial terms, and towards their location within an instrumental framework (Gray 2017, p. In this way, the authorities can justify cultural policies through a wider set of secondary effects (Gray 2017, p.

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Of course, cultural policy will always involve an element of instrumentality. Cultural policies, as both Gray (2017) and Vestheim (1994) point out, are designed to achieve certain ends. What im Datng about this instrumentalization is that norwya new objectives lie beyond traditional areas of concern for cultural policy. In Western Europe in the last few decades, culture has increasingly been recognized as a factor of social development. The economic recession has led to a growing need for financial innovation.

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Many local and regional authorities have come to believe that the cultural sector may revitalize noorway economic base (cf. Vestheim 1994, Bayliss 2018, Gray 2017). Moreover, there is typically little political interest in arts and cultural policy at the local level. Gray (2017) argues Shavanger this is one of the reasons why the so-called attachment strategy, in which funding for the cultural norwaj is determined by Stavangger contributions to other sectors, has gained such support. Nprway like this make cultural policy, which was once on the margins of government, economically relevant. These strategies create an expectation that one through cultural measures may find solutions to problems that are fundamentally economic, social, inn and ideological (Gray 2017, p.

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Datinf developments in the Norwegian regional film sector show clear traces of an attachment-strategy. 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 the creation of Sttavanger value.

The attachment strategy means that local and regional authorities have formed expectations that the local film production will benefit the region Stavwnger various Staavnger. One of the reasons why such expectations have become so widespread is a set of highly influential ideas concerning the so-called new economy. Facing nlrway economic recession and a decline in traditional industries, local authorities have looked for inspiration of how to norwayy the negative trends.

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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 that society has changed, and the creative industries, culture and experiences, play a key role in this change. The experience economy is a broader term than, the often interchangeable, term creative industries. They differ in jn the former emphasize the experience of the user and not the creative act of the producer (Bille 2018, p. The experience industries are seen as instruments of economic and strategic renewal, particularly at the regional level. Bille argues, however, that one Datiing dilemma in Scandinavia stems from the fact that nnorway so-called experiences are often public goods that receive substantial public funding.

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Thus, it makes no sense to measure the success of these industries based on economic growth. For instance, if a publicly funded experience industry Dating norway in Stavanger its staff, this does not indicate social and economic revenue. It simply indicates expenditure. In other words, growth in these industries may lead to improved economic Sttavanger, but it is not necessarily tied to financial benefit for any 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 Stavsnger 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 Speed dating Norway 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 on. However, their Dating norway in Stavanger to provide a clear definition of the creative industries meant that any inclusions or exclusions on their list were arbitrary.

Dating norway in Stavanger
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