The aim of this work is to present gamification and its uses in the context of museology and art marketing and its benefits for the presentation of cultural heritage. The first part explores general theory of gamification, it's basic elements, types of players, psychological aspects and motivation. It mentions also social impact and main criticism. Second part apply the concepts presented in the first part directly to the field of presentation of cultural heritage in museums and galleries. It focus on linking the traditional institution with it's virtual version in the context of convergence culture and participation with wider audience. Gamification design framework shows how museums and galleries can use gamification for practical use in exhibitions, digitized collections and promotion. At the third part it presents practical project with concept of gamification of history for the Faculty of Arts at Charles University.

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Thesis (M.A.)--Miami University, Dept. of English, 2004. / Title from first page of PDF document. Includes bibliographical references (p. 47-48).

Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter. iv In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art. / M

Dissertation submitted in partial fulfilmment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Department of Fine Art, Durban University of Technology, 2009. / This paper explores the chronological relationship between the fine art market and the work produced by black South African artists since the emergence of a black urban class in the 1940s. It stems from the hypothesis that historically the art market had (and to some degree, still has) a major influence on the works produced by black artists in South Africa. In the introduction I contextualized the title of this dissertation by discussing the definitions of the terminology which feature therein. In Chapter One I have contextualized the study by looking at the historical background (the pre-1994) of South African art. I have specifically looked at how the socio-political conditions of that time influenced the work produced by black South African artists, hence the emergence of Township Art and Resistance Art. In Chapter Two I looked at the roles played by art institutions, galleries, and organizations in the stylistic developments made by black South African artists between the 1950s and 2000. The discussion of the influential role played by such informal institutions as Polly Street Art Centre, Jubilee Art Centre, the Johannesburg Art Foundation and many others on black artists forms a greater part of this chapter. Also included in this chapter is the discussion which examines the hypothesis that many black artists who do not have a formal academic background constitute a greater part of the informal art market. Tommy Motswai, Joseph Manana and Sibusiso Duma are examples of such artists and their work is discussed in depth. David Koloane, De Jager, Anitra Nettleton and other writers who have made literary contributions to South African art history, have been extensively cited and critically engaged in this chapter. iv In Chapter Three I discussed contemporary perceptions of the formal art sector, particularly in the post apartheid period. In this regard I looked at what defines mainstream or high art and how it differs from the marginal forms of art which are discussed in the preceding chapter. In this discussion I looked at the work of Sam Nhlengethwa, Colbert Mashile and my own work. In my discussion of their work I mapped out the characteristics of contemporary mainstream art, focussing primarily on 2-dimensional art.

近年來國內電影映演呈現多元化發展，不只電影類型、內容日趨豐富，電影的映演方式也更趨多元。而擁有集結映演主題、少廳院、長映期、多功能搭配、選擇不設限、聯票預售等特性的「商業影展」更成為九十年代電影市場中極為盛行的電影行銷方式。 隨著電影觀眾的觀影口味多元使得電影分眾市場確立之故，讓許多不同類型的影片得到出現在市場上的機會，再加上多廳戲院取代了傳統大型戲院，除了因應電影分眾的潮流，還可以接受多一些電影放映。另外，為了能夠和大型電影發行商強大的行銷資源相抗衡，將許多部影片的行銷資源集合起來，再透過影展主題式集結的方式行銷，也成為現今非主流商業影片另謀映演空間的方法。上述種種電影市場的新現象就成為現在商業影展興起的契機。 在競爭愈來愈激烈的影展熱潮中，要如何建立有效的行銷策略將是未來經營影展所必須仔細思考的重要課題之一。因此，本研究旨在以行銷的觀點檢視商業影展的經營運作概況，以現在已存的「絕色影展」做為研究對象，整理、分析與討論其所擬定的行銷策略，並將之與消費者的商業影展消費行為調查結果相互比較，提出對商業影展發展行銷策略上的建議，期望對將來在推行商業影展擬訂行銷策略時能有所助益。 本研究探討的行銷策略包括了目標行銷策略以及行銷組合策略兩部分，得到的研究結論如下： 一、目標行銷策略： 商業影展的目標觀眾仍以愛好電影、常看電影的影痴為主，其中年輕的學生人口仍為主要的目標觀眾。 二、行銷組合策略： 1.產品策略：商業影展影片仍以藝術影片為多，建議在主題的選取上可 以朝向更專業化的設計，提供觀眾更具深度的觀影經驗。另外，配合影展提供相關議題的影評講座或座談活動將可以增加影展產品的附加價值。 2.價格策略：採較低價的定價策略並輔以有條件的價格修正措施將可以吸引更多的觀眾。 3.通路策略：觀眾已漸漸培養出購買預售票以及聯票的習慣，因此提供更為簡單便捷的售票系統，將會促進更多觀眾買票進場的意願。 4.推廣策略：商業影展性質有別於一般院線電影，其所採行的推廣策略並非得要用昂貴的大眾媒體做廣告，反而透過公關報導的形式將影展訊息曝光，再利用影評人作為「意見領袖」的方式影響觀眾，透過口碑的傳播，將影展推銷出去，可以得到更大的宣傳影響力量。另外，透過品牌的建立以及建立與維持和顧客長期的良好關係都是商業影展推廣策略中極重要的一環。 / The main theme of the study focus on the marketing strategy of the commercial film festival. The goals of the study include the following: 1. To know what and how the commercial film festival develop marketing strategy, then to evaluate the effect. 2. To find out the main factor that marketing strategy formulated. 3. To research the consumer behavior of the commercial film festival, and suggest the best marketing strategy of the commercial film festival from the consumer research information. In order to achieve the above goals, the study intends to integrate the qualitative and quantitative data. "Cast study" and "Consumer survey" are conducted. Choosing "Fanciful Film Festival" be the cast of the study, to find out how and what the fanciful film festival develop the marketing strategy, then analysis and discuss them. Simultaneously, using the research to get the quantitative data of commercial film festival consumer behavior. Contrasting both cast qualitative data and quantitative research of consumer survey, and get the marketing strategy suggestion. The results of the study are followed: 1. Target marketing strategy the target audience of commercial film festival is mainly enthusiast about film. Mostly they are the young college students. 2. Product strategy (1) Film category: art film is still the main film category of the commercial film festival. (2) Film subject: the more professional, profounder film subject is suggested. (3) Additional product strategy: it would advantage to use some additional product strategies, such as symposium, film review conference... 3. Price strategy: using the going-rate pricing and the conditioned discount. 4. Place strategy: (1) The consumer has trained the habit of buying the advance ticket and the suit ticket. (2) To supply the more convenient ticket system would encourage consumer. 5. Promotion strategy (1) The main promotional tools still are mass medium, especially the public relations. Using the public report to communicate and advertise the film festival, encourage audience consuming. (2) To pay much attention to the effect of the opinion leader. (3) To place importance on brand management and relationship marketing.

The accurate measurement of the value of the arts to society is becoming increasingly important in developing countries, like South Africa, where the arts must compete with housing, health, education and the like for public funds. Motivation for the public funding of arts events, like the Standard Bank National Arts Festival in Grahamstown, is usually based on the economic impact, that is, the financial benefits to the region, of such events. The argument is problematic, however, because the primary recipients of such economic benefits are often middle to upper income groups who also attend more arts performances. Furthermore, the studies have not taken into account the positive externalities which, it is argued, are generated by the arts and are enjoyed by attenders and non attenders alike. This thesis argues that it is the social benefits which the arts provide, those external to the market, which should be the basis of public funding. In order to quantify these positive externalities, a willingness to pay (WTP) study was conducted in the Grahamstown region. It is generally, but erroneously, believed that the Festival does not benefit the poorer, largely black, Grahamstown East residents. The study found that, in addition to the economic value (R23 - 25 million a year), the non-market benefits which the festival provides are worth between R2.3 and R3 million a year and form a very important part of its value, particularly to low income groups. The study also found that there are methodological adjustments which can be made to WTP studies to successfully control for the many forms of bias it is prone to. By using a combination of closed and open ended and liable and non-liable questions, the motivation of respondents' answers to WTP questions was determined, making it possible to adjust for bias caused by, for example, "free rider" and "warm glow" responses. It is argued that by identifying and excluding such responses from WTP surveys, it is possible to reduce bias to an acceptable level.

Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

This thesis focuses on marketing activities of the classical music festival Dvořák's Prague. Its goal is to analyze the advertising and other marketing activities of Dvořák's Prague in detail. On these bases recommendations on how to increase the knowledge of the festival will be proposed. The thesis is divided into two parts. In the first part the thesis focuses on theoretical points related to marketing ín general and to the arts, which are the subject of the festival. Then the concept of the market research is defined, its process and methods. In the second part, theoretical points are applied. After the introduction of the festival itself, the thesis continues with the analysis of particular marketing activities and with the marketing research, which was conducted to discover the public knowledge and awareness of the festival. In the final part the findings from the analyses of marketing activities and results of the marketing research will be used to propose possible improvements in marketing campaign to increase the public awareness of the festival.

Contemporary art trade in the Czech Republic has been regarded as a private area accessible only to a few insiders. So far no adequate literature about this field has existed, the marketing strategies used within it were, not only from the outside perspective, quite unclear. This work shows that it is not a secret sphere. On the contrary, it is a part of the market, which has the effect that the more you talk about it openly, the better impact it has on the whole society. The author presents the current situation in this field, its historical context, and openly discusses the long-term marketing strategies of gallerists who work with contemporary artists. On the basis of case studies from abroad she also shows other possible ways how to bring society closer to contemporary art by means of some specific marketing tools.