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Why everything has changed: the recent revolution in cultural economics

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  • Tyler Cowen

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Abstract

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  • Tyler Cowen, 2008. "Why everything has changed: the recent revolution in cultural economics," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 32(4), pages 261-273, December.
  • Handle: RePEc:kap:jculte:v:32:y:2008:i:4:p:261-273
    DOI: 10.1007/s10824-008-9074-y
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    Cited by:

    1. Martin Richardson & Simon Wilkie, 2013. "Faddists, enthusiasts and Canadian divas:a model of the recorded music market," ANU Working Papers in Economics and Econometrics 2013-600, Australian National University, College of Business and Economics, School of Economics.
    2. Tyler Cowen, 2011. "Creative Economy," Chapters,in: A Handbook of Cultural Economics, Second Edition, chapter 16 Edward Elgar Publishing.
    3. Martin Richardson & Simon Wilkie, 2015. "Faddists, Enthusiasts and Canadian Divas: Broadcasting Quotas and the Supply Response," Review of International Economics, Wiley Blackwell, vol. 23(2), pages 404-424, May.
    4. David McKenzie & Berk Özler, 2014. "Quantifying Some of the Impacts of Economics Blogs," Economic Development and Cultural Change, University of Chicago Press, vol. 62(3), pages 567-597.
    5. Karol Borowiecki & Juan Prieto-Rodriguez, 2015. "Video games playing: A substitute for cultural consumptions?," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 39(3), pages 239-258, August.
    6. Seaman, Bruce A., 2009. "Cultural Economics: The State of the Art and Perspectives/Economía de la cultura: estado del arte y perspectivas," Estudios de Economía Aplicada, Estudios de Economía Aplicada, vol. 27, pages 7-32, Abril.

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    Keywords

    Culture; Economics; Internet; Free content;

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