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Chapter 20 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "My Name is Nobody" directed by Tonino Valerii was influenced by Homer's book "The Odyssey" in the creation of the main character Nobody. Nobody was a villain which was played by Henry Fonda.

Chapter 18 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Sabata" directed by Gianfranco Parolini highlights the compliment given to the character Sabata due to his sharpshooting skills. Sabata cites that keeping a distance from the target is an efficient technique to hit the target.

Chapter 19 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "They Call Me Trinity" directed by Enzo Barboni is an example of comedy western spaghetti played by Bud Spencer as Bambino and Terence Hill as Trinity. The music "They Call Me Trinity" was used in the film that reveals the classic cowboy style in the film. The film has been viewed a success on its release in Italy, Spain, Great and the U.S.

Chapter 17 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "A Professional Gun" directed by Sergio Corbucci highlights the character Curly who does not believe on rules to win. Curly has projected an image of killing a bandit upon the failure of an interrogation.

Chapter 16 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "The Big Silence" directed by Sergio Corbucci has been recognized as the best western performance due to the performance of Loco, played by Klaus Kinski, as the vilest spaghetti-western villain. The film was able to project a larger budget despite of the continuity errors concealed in the production.

Chapter 15 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Day of Anger" directed by Tonino Valerii highlights the rejection of an orphan by the respectable citizens and the anger of a gunman which makes the film a spaghetti western. The film was a success despite of the censorship and cuts on the film due to violence.

Chapter 13 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Death Rides a Horse" directed by Giulio Petroni highlights the capability of the two main characters, Bill, a gunman, and Ryan, an ageing outlaw, to gain respect from society by capturing the robbers. The film is recognized as the best post-Leone spaghetti western, which features the themes of corruption and capitalism in the west.

Chapter 14 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Face to Face" directed by Sergio Sollima highlights the character Brad who has been depicted for killing several people for survival and acquisition of power. Brad in the film has been projected of his perception that all men die in an indefinite time.

Chapter 12 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "The Big Gundown" directed by Sergio Sollima revolves on the death of an elderly peasant named Cuchillo Sanchez due to the accusation of attacking a 12 year old girl. Sanchez has been classified as the disillusioned dogs of Juarez who has fled to Mexico to escape his pursuers.

Chapter 11 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "The Hellbenders" directed by Sergio Corbucci shows the different aspects of the post-Civil War southwest through the characters in the film. The Hellbenders in the film refers to a gang that resemble the trait of a solitary aquatic salamander highlighting the character of Colonel Jonas.

Chapter 10 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Django Kill" directed by Giulio Questi has been interpreted on the existence of problems afterlife. The release of the film in January 1967 in Italy has been confiscated due to the presence of violent scenes.

Chapter 7 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Navajo Joe" directed by Sergio Corbuci highlights the heroic acts of the character Navajo Joe for he kills gang that scalps people. It explores the agreement between Joe and the townspeople to protect them form the scalphunters in exchange for a dollar per head as payment.

Chapter 9 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "The Good, the Bad and the Ugly" directed by Sergio Leone was able to catch the interest of the Americans due to his talents shown in the direction of the film. It highlights the partnership of the two main characters Blondy and Tuco Ramirez despite of their different personalities.

Chapter 8 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "A Bullet for the General" directed by Damiano Damiani focuses on the Mexican revolution and the relationship between a gringo outsider and a Mexican bandit. It highlights the two main characters in the story Chuncho and Tate in their fight for revolution despite of their different perceptions.

Chapter 6 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "The Hills Run Red" directed by Carlo Lizzani focuses on revenge through the character Thomas Hunter. Revenge has been viewed as the mission in Hunter's life.

Chapter 5 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "Django" directed by Sergio Corbuci has been recognized for being the first Italian western director to distribute the film on his own name and the capacity to rewrite the rules of the western. The film has projected the character Django as the typical western hero due to his trait of being a loner.

Chapter 4 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "For a Few Dollars More" directed by Sergio Leone uses the flashback structure of presenting the story. It highlights the significance of the watch in the film because it was used to symbolize the heinous crime inflicted to the colonel's sister in the story. Revenge is the focus of the story.

Chapter 3 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. The film "The Return of Ringo" directed by Duccio Tessari has been viewed for its similarity with the story "Odysseus" specifically on the events of the story. It highlights the role of the character Ringo of helping the sheriff regain his dignity due to the sheriff's timidity.

Chapter 2 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. It explores the principle of the character Ringo in the film "A Pistol for Ringo," that his actions and misbehavior is based on each person's principle. The film directed by Duccio Tessari has projected the traditional western hero traits of Ringo that shows the Italian machismo.

Chapter 1 of the book "Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns" by Howard Hughes is presented. Bob Robertson, the director of the film "A Fistful of Dollars," has encountered problems in the production of the film such as pay strikes, faulty power generators and the absence of sanitary facilities. It highlights the reconciliation of the character Ramon Rojo with the Baxters family because he has realized the preciousness of life.

The article focuses on the success on the production of spaghetti western and muscleman films taken in Rome during the late fifties and early sixties. Rome was chosen as an alternative for Hollywood due to cheaper production and labour costs. The motion picture "Hercules" and "Hercules Unchained" were some of the successful films released in Great Britain and the U.S.

References for the chapters within the book "Arts, Entertainment & Tourism" are presented.

The article offers information on issues related to entertainment and tourism. It points out the significance of the West End in attracting tourists to London, England. Meanwhile, Las Vegas in Nevada is said to be the best-known example of a tourist centre with gaming as its main attraction. It also discusses the Mardi Gras that occurs annually in several places worldwide before Lent.

Chapter 9 of the book "Arts, Entertainment & Tourism" is presented. It discusses the marketing implications and other consequences of the relationship between performing arts and tourism. It describes several approaches to different segments of arts-related tourism, which include arts-core non-holiday and holiday and arts-peripheral non-holiday and holiday.

There is considerable enthusiasm for developing the relationship between the arts and tourism as they are seen as being mutually beneficial. Tourism can bring new audiences and sources of revenue for the arts and the arts provide an attraction within the tourism experience that the tourism industry can utilize. Much of the discussion is in terms of international tourism and does not differentiate between arts-core and arts-peripheral tourists. It is seen for instance as a new and growing market (with an implicit assumption that it is arts-core) when, in fact, entertainment, in particular, has long been something that tourists have seen and heard. Regardless of this, there is an obvious benefit for the arts and entertainment from any additional source of income, whether it be from tourists or a more local audience. Employment is created or secured, local residents benefit from the existence of the arts and, in some cases, art forms continue that would otherwise disappear. There may be a particular advantage to be got in raising sponsorship and generating support, by pointing out that audiences are tourist. From the tourism perspective, the existence of the arts and entertainment can influence the decision of tourists about visiting a town or country, without any direct connection between the arts and the tourism industry. Tourism benefits indirectly but will have an interest in the well-being of the arts and entertainment. Tourism focused on culture generally and on the arts in particular is regarded favourably as it is seen as a new and growing activity. A more direct connection occurs when the tourism industry itself (tour operators and hotels) uses the arts and entertainment in an inclusive tour or the hotel industry provides its own entertainment. There are, however, a number of criticisms levelled at the relationship. In particular, the fact that reliance on tourism can make the arts exposed to fluctuations that are beyond their influence. In addition, by encouraging tourist audiences it is suggested that the arts have become little more than a tourist sight. To encourage such audiences, theatre productions are bland and unchallenging and are able to have long runs fed by a continual flow of new customers. This process however, like the increasing tendency to view the arts as an industry like any other, is not entirely attributable to tourism. There are significant pressures in society that have contributed to both. In addition, individuals and firms in the arts have themselves been eager to take up the opportunities provided by tourism. The joint influence of the arts and tourism on urban regeneration is considered to be particularly important by governments and development agencies. The arts are believed to regenerate partly through their ability to attract tourists and tourism affects regeneration partly by promoting the arts (and also heritage) as an attraction. There is a consensus about these cultural and tourism strategies that includes influential local residents, business people and local government. This, in turn, has been subject to the criticism that it focuses on a set of narrow interests and does not give sufficient acknowledgement to the needs of many other residents of cities who are less articulate, organized or influential. Projects and events may have too much of a tourist inclination and not enough local relevance. Arts-related tourism is often measured and justified by reference to its economic impact though not all tourist spending can be considered to be beneficial as some, for instance, may have occurred anyway. Its multiplier effects have been a particular focus of attention. Any tourist spending will have an expanded, or multiplier, effect as it is received and gets spent by suppliers and employees. Estimates of these effects are common but they do need to be treated with caution as the basis for the estimates can sometimes be weak.… [ABSTRACT FROM AUTHOR]

The arts and entertainment are seen by the tourist industry as having the potential to attract tourists. In some cases, for arts-core tourists, they can be the sole or main attraction whereas in others, for arts-peripheral tourists, they are less important and may be amenities rather than attractions. The actual provision of arts and entertainment is, of course, largely left to that industry but the various parts of the tourism industry may be involved in several ways. Tourist boards and government may utilize and emphasize the arts and entertainment in marketing a town or a country. Government, especially local, may encourage and financially support the arts because of the tourism-generating potential. More direct involvement may come from tour operators who put together inclusive tour packages of accommodation, theatre tickets and transport. The most direct connection is through hotels, which, apart from the inclusive tour involvement, often provide some form of live entertainment themselves. Given that there is an interest by tourists in arts and entertainment, then surveys of tourists might be expected to show how many actually do go to see a performance of some sort. In terms of total tourist expenditure the arts and entertainment do not seem particularly important in comparison with shopping, accommodation or travel. In terms of participation it is usually only a minority of tourists who go to see the performing arts but nonetheless the proportion of tourists that does attend a show or concert can be quite high. In some cases, it is the only occasion when visits to the theatre are made and going to the theatre is a holiday experience for some people. It is evident however that for many tourists other attractions and activities, such as heritage, are more popular. Some tourists indicate that arts and entertainment are important factors in visiting a destination, though, again, it is often other factors that are important for a greater number of people. The existence of arts-core and arts-peripheral tourists is difficult to determine because participation in the arts and the importance of the arts in the visit-decision are not linked in published surveys. Like audience surveys, these surveys have a number of other weaknesses. In particular, there is little recognition of the interconnection between reasons for visiting a destination. [ABSTRACT FROM AUTHOR]

There are no compelling reasons why arts managers should want tourists in audiences as the source of revenue is largely irrelevant. Knowledge of audience composition and expectations is, nonetheless, important if only because who is in the audience will influence the arts experience offered. A holiday audience at a seaside resort will be looking for an experience that is different from that of regular, keen, theatre-goers in their own home town. The arts manager in holiday areas will often be looking to the tourist market for a significant proportion of the audiences. Elsewhere, there may be an interest in the tourist market because arts managers are looking for new sources of audiences and to push back the threshold from within which audiences are prepared to travel. Targeting tourists, who are usually some distance away, may require approaches that differ from those aimed at more local audiences. Part of the approach is to ensure that particular places are marketed successfully as holiday places and ensuring they have a pleasant and positive image. This will usually involve collaboration with tourist boards and local government. In addition, arts-core tourists may be targeted directly through mail shots and advertising. Offering the experience as a holiday, especially as a 'package' may have the effect of pushing back the threshold and persuading some people to travel to see the arts. This will apply to both arts-core and arts-peripheral tourists. These approaches may be best undertaken on a joint basis with other arts organizations or with the tourism industry. Tourists who are already at a destination may be targeted with a modified range of local-market approaches including targeting hotels and the production of general 'what's on' entertainment brochures. There is evidence from audience surveys that there are tourists in audiences. There is only a limited number of relevant surveys where tourists are actually identified but the proportions of tourists in audiences can be high. It would appear that tourists are particularly interested in certain types of production, such as musicals, but there is mixed evidence about whether they are high spenders. Many of these tourists also claim that their visit to the destination was largely due to the arts and entertainment. There are, in some cases, high proportions of arts-core tourists though whether or not they consider their visit to be a holiday is not evident. There is little to show the composition of audiences in coastal holiday towns, in particular, where it might be expected that tourists will be a high proportion of the audience. It is not known just how important arts and entertainment are to such tourists and whether they are arts-core or arts-peripheral. There is not always a clear identification of tourists in some of these surveys and data sometimes relate to both staying and non-staying visitors. There are a number of other drawbacks of audience surveys including the fact that there is little recognition of the possibility of combinations of factors attracting tourists to a place. Arts and entertainment tend to be evaluated in isolation and also, at a practical level, are evaluated by tourists when they are actually in the theatre or concert hall. This, in itself, may give rise to a distorted judgement. Surveys of tourists as a whole may give a clearer picture. [ABSTRACT FROM AUTHOR]

It is obvious that there is no one particular type of tourist arts or entertainment as such. Any play, show or concert may have tourists in the audience. Some managements will however have set out to attract such an audience and others will have aimed at largely local audiences. Whatever the aim, the 'success' in actually attracting tourists may vary greatly. Some productions and events may be produced for reasons quite unconnected with tourism but may experience high proportions in their audiences. An instance of this is the production of a rarely-performed play, a decision which might have been made because it is felt that it has been a unjustifiably neglected piece and deserves public exposure. Similarly a 'star' artist or pop group may give only limited public performances. The desire to see these may be such as to attract audiences from considerable distances. Experience from the past suggests that most holiday-makers have always wanted some form of entertainment. The most noticeable instance is that of the holiday-maker at the seaside over the last 150 years, where the entertainment has been light and undemanding. The seaside holiday-maker has, in the past, been reluctant to engage in 'the arts' as conventionally defined and a vast entertainment industry developed to satisfy the demands of such tourists. This endured until the second half of the twentieth century when, with competition from 'new' sun-based resorts, older resorts in Britain, other north European countries and North America declined. Live entertainment itself has experienced many problems not the least of which have been associated with the growth of television in this post-war period. Costs of producing shows have risen as have audience expectations of quality and the performers they want to see. A 'vicious circle' of fewer visitors leading to reduced audiences leading to less revenue, poorer product and, in turn, to reduced audiences and fewer visitors appears to have been established. Not only has the shift to new destinations caused problems for entertainment, the decline in entertainment may have made the older resorts less attractive. It would be unwise however to blame the decline of, for instance, British holiday-making on poor seaside entertainment as the causes are many. Despite growing interest in 'culture-tourism' or arts-related tourism, most holiday-makers continue to seek sun and sea. This means that arts or entertainment do not feature as the focus of most tourist trips but that they (and especially entertainment) do feature as secondary or incidental activities. Most tourists who are in audiences in sun and sea destinations will be arts-peripheral. Entertainment continues to exist in the 'older' seaside resorts and many seaside theatres are 're-inventing' themselves as year-round venues serving a wide catchment area. The summer programme targeted at tourists has become one element of a wider strategy that is primarily designed to develop local (including regional) core audiences. This non-holiday season may well attract arts-core tourists to audiences. The situation in the UK has not been helped by the difficulties faced by local government. It has been responsible for a great deal of support for the arts and entertainment in seaside resorts to the extent that it really was the critical initiating and supporting influence. Recent financial pressures and a re-think of the role of local government has resulted in a reduction in that support. Any future developments will not be based on the levels of support that were experienced in the past and will have to rely on the commercial sector, either alone or in partnership with local government. A recent development compared with seaside entertainment is the growth of arts (and rock and pop) festivals.… [ABSTRACT FROM AUTHOR]

There has been a connection between culture and tourism ever since tourism first developed. This was particularly noticeable in the Grand Tour that characterized Europe, in one form or another, for about 300 years through to the nineteenth century. Motives relating to gaining knowledge of the arts and history dominated tourism at this time. Even though 'pleasure' invariably featured in the Grand Tour, this has become more obvious with the growth of mass tourism in the twentieth century. The motives for tourism have become less instrumental and more obviously related to enjoyment, relaxation, escape and change without a particular educational or developmental purpose. Sun and sea have featured heavily in modern tourism. Nonetheless tourism with a cultural motive continues and is believed to be increasing in significance almost as an inevitable next stage in the progress of tourism. There are, however, problems in determining developments because of confusion surrounding the term 'cultural tourism'. It is applied to a variety of tourism trips and not always consistently and, in particular, it is used to cover visits to a diverse range of venues including museums, art galleries and theatres and, occasionally, other less obviously related venues. It is, in addition, applied to such visits regardless of why the tourist is there in the first place and whether as a result of a deliberate decision or by chance. It would be more meaningful to focus on a particular aspect of culture, such as theatre, rather than deal with all as a single entity. From a focus on the performing arts (including entertainment) it is suggested that people who are in audiences whilst tourists may be there for one of two reasons. They may have a particular interest in arts and entertainment and are there solely because of them. These people are termed 'arts-core'. Others may be in audiences as a result of being in a place for some other reason. They may visit a town for business reasons or for a holiday primarily for sun and sea or for heritage. Theatre is not the sole or main reason for being in that town or city but it features as part of the tourist visit. These people are termed 'arts-peripheral'. The tourists may be further classified according to whether or not the trip is considered to be a holiday but whether this is so is something that only the individual tourist can decide. Both arts-core and arts-peripheral tourists may be on a trip that is classified by them as a holiday. Equally both can be on a trip that is non-holiday. The arts-core tourist may travel and stay in order to see a play or concert and not consider the trip to be a holiday and the arts-peripheral tourist may be visiting friends or relatives or on business. There are a few studies that suggest the existence of tourists whose trips are the outcome of a desire solely or mainly to see and visit cultural attractions, though not particularly the performing arts. These culturecore tourists are considered to be a relatively small number of all culture-related tourists. Most tourists at cultural attractions are likely to be culture-peripheral. The terms cultural tourist or arts tourist are probably best reserved only for culture-core or arts-core. In explaining the apparent interest by tourists in culture, higher incomes and increased leisure time enabling more people to go on holiday and others to go on more holidays are frequently referred to. The interest is also explained by other factors. The pace of change in modern society with the consequent dislocation of identity has led to a desire for more 'meaningful' leisure activities. There is a reaction against the less-involved sun and sea holiday. In addition, there is a continuing search for new experiences, spurred by the consumerist society. The developments are associated too with the growth of the service or middle classes and the reduced significance of manual or working classes.… [ABSTRACT FROM AUTHOR]

Tourism is a term that covers many activities including holidays but it involves temporarily moving away from home for some purpose and usually staying away for at least one night. It includes business and conference trips and visiting friends and relatives as well as going on holiday. Most tourist trips are, however, for holiday purposes. When people go on holiday they are usually looking for 'change' and a break from their usual life pattern. This can refresh and regenerate a person as well as provide the opportunity to behave in ways that are different from patterns at home. The push to 'get away' is strong and, by now, going on holiday is an accepted and expected part of life for most people. It is a highlight of many people's lives. A holiday is not, however, a single readily identifiable product. Many holidays are focused on sea and sun but there is also a demand for many other types including holidays focused on sport or on heritage or shopping. Any holiday also has many components that vary according to the individual tourist concerned. Some of the components are provided by commercial suppliers but others such as scenery and weather are natural. Some are provided by individuals and organizations that are not primarily concerned with tourism. There are however a large number of commercial suppliers of part of the product. Hotels, motels and guest houses are numerous and the supply of the upmarket hotels, at least, comes from some very large multinational companies. Most of the rest of accommodation however is owned by relatively small organizations. Transport is frequently provided by holiday-makers themselves as many holidays, especially domestic, are taken using the car. Longer distance and international holidays are reliant on air transport where there is, at least until recently, a domination by large airlines. Tour operators and travel agents are particularly concerned with international travel and in the UK there is a concentration of supply into a few large firms. The inclusive tour (or package holiday) provided by tour operators has been particularly significant in generating international travel. Although the majority of the population of most industrialized countries does take a holiday every year this is only a recent phenomenon. 'Mass tourism' only emerged in the second half of the twentieth century. It coincided with a shift in many countries towards holidays that were sun-based as well as sea-based. In the case of northern countries it meant that domestic resorts lost holidaymakers to countries with Mediterranean coastlines. Towards the end of the twentieth century there has been a noticeable growth in second holidays, many of which have been less concerned with sun and sea and more with domestic destinations and with countryside and cities. Apart from the obvious components of weather and scenery, tourism has always been a commercial activity. Tourism has not been identified as something special that deserves to survive regardless of whether it is profitable. It is therefore unlike the arts where unprofitable activities have been supported by government or private sponsorship finances. Governments have, nonetheless, intervened in tourism in most countries. The intervention has usually been limited to the financing of marketing bodies on the grounds that they will not be provided otherwise. [ABSTRACT FROM AUTHOR]

The particular focus of this book is live performances of music, dance, plays and the like before audiences in places such as theatres, halls and arenas. These live performances are often categorized as being arts or entertainment. In its usual usage the term entertainment has overtones of being undemanding and light but enjoyable. In one form or another entertainment features in most people's lives as it is a term that covers a wide variety of activities including watching television and going to a nightclub as well as seeing a performance, for instance, of a musical in a theatre. The arts, however, have been considered to be more demanding and requiring effort to appreciate and, in some ways, to be more serious than entertainment. The arts are associated with the highest levels of human creativity and the work of relatively few gifted people whereas entertainment is something that can be created more easily and by more and less gifted people. The term 'arts' is applied to plays, music and dance but to performances that are, in some way, different from entertainment. It is obvious that it is very difficult to decide what is art and what is not and ultimately it is a matter of opinion but the distinction is commonly made nonetheless. What is considered art has probably been determined in the past by people with an interest in keeping it limited to themselves and in preserving a mystique about it in order to enhance their own status. Whereas most people experience some form of entertainment frequently, relatively few go to see live performances of the arts or entertainment. The proportion of the population that goes to the theatre is low compared, for instance, with cinema-going. The people who do go tend to be unrepresentative of the population as they are usually older, wealthier and better educated than the rest of the population. This is partly a matter of cost but also the transformation of theatre into a pursuit of people in the professions, management and white-collar occupations. Theatre and the arts have become the preserve of the few in their desire to differentiate themselves and appear superior. As a consequence, many people have come to believe that theatre-going is not for them. People who have been accustomed to going to the theatre from an early age and who have been exposed to the arts in school are more likely to participate than are others. It may be that appreciation of the arts is something that is not easily acquired and it does require some education. It is not too surprising in view of these perspectives on arts and entertainment that the supply of each differs. Both are the outcome of work by individuals who create or perform and which is performed in venues. The individuals and the venues may operate on a fully commercial basis and this is usually associated with entertainment. Many, however, operate on a non-commercial basis and creators, performers and venues such as theatres exist only because of financial support from government or private sponsors. This is largely associated with the arts. The arts have been singled out for support by governments for many years whereas entertainment has been left to market forces to determine and for commercial providers to supply. This is largely accounted for by the view that the arts are 'special' and as being the embodiment of human achievement and they therefore deserve to be encouraged and to survive. Most governments have believed it necessary to support the best of the old and to stimulate new creativity. At the same time, given the belief that the arts are so important, governments have tried to encourage participation by a wider range of the population by opening up access through support that keeps prices relatively low. In some countries such as the USA there has been a greater reliance on private sponsorship than on government, but the same issue is a consideration -- that of supporting a non-commercial enterprise.… [ABSTRACT FROM AUTHOR]

The article discusses various chapters published within the book, including one on the relationship between the arts and entertainment and another on tourism.