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Pennsylvania's (PA) processes and policies for landscape-scale cultural and visual resource conservation are lacking. In PA, like much of the United States (US), landscape change policies are prescriptive and concerned mainly with ecology, health, safety, and welfare issues. These factors combined relegate cultural and scenic aspects to ancillary matters, often leading to their degradation. Culturally focused fields, such as landscape architecture, archaeology, and planning call for rescaling cultural conservation planning to regional scale. Rescaling would treat cultural resources like other environmental and ecological resources, giving cultural resources equal weight in conservation evaluations. The United Kingdom (UK) has policies specifically for visual impact assessment required for development projects. This paper discusses scale issues and political processes within regional visual and cultural resource conservation in PA, US, compares nascent regional-scale planning efforts in PA and the UK, and proposes improvements to PA and, by extension, US cultural landscape conservation policy implementation. [ABSTRACT FROM AUTHOR]

This paper analyses the Department of Digital, Culture, Media & Sport committee's inquiry into the economics of music streaming. The scrutiny of the committee's oral and written evidence, and final report is placed within the context of the music industry's significance to UK cultural policy since the late 1990s. The perspectives of the UK's musicians and song-writers are a focal point of the analysis of the inquiry's published documentation, as they are when discussing the committee's recommendations released in July 2021. [ABSTRACT FROM AUTHOR]

In democratic societies, the political process ultimately is about making value judgements. Comparative cultural policy research indicates different value orientations may be behind cultural policies of different nations. It has also indicated developments that are common, such as democratisation of culture, neoliberalisation of politics and globalisation. As of yet, such value changes have not been studied at the level of cultural policy documents analysed as text. This article proposes a methodology to study value changes behind cultural policies over time and across nations. Based in the "pragmatic sociology" of Boltanski, Thévenot, and Chiapello, the article presents a big data methodology to uncover value changes of policy documents over time, between different policy agents, and across nations using material from the UK and the Netherlands. The paper explains the methodology, discusses the implications of the preliminary outcomes and provides suggestions for further comparative policy analyses. [ABSTRACT FROM AUTHOR]

Since the UK joined the European Economic Community (EEC) in 1973, the European Union (EU) and the former EEC (incorporated in the EU in 1993) have been vital organs of solidarity and investment for the cultural system of the UK. The UK's arts sector has also benefitted from the single-market and visa-free work and travel. However, the UK's withdrawal from the EU means that the country, and its arts and creative sector, must adapt to a new context. By using interpretative argumentative techniques to analyse 30 interviews, and policy analysis, this article focuses on the manifold emotional, creative, and financial resilience strategies developed and trialled by the UK arts and cultural sector following the referendum result in June 2016. Those strategies suggest that some long-standing partnerships with EU countries will continue in the years to come, although not without issues. [ABSTRACT FROM AUTHOR]

There is a widespread belief that the higher the level of subsidies, the better the performance of film industries (both in quantity and quality). This article focuses on film quality—evaluated by audiences and critics—and scrutinizes this assumption through four selected countries—France, Korea, UK, and US. The main findings of this article are summarized through two points. First, despite the Korean film industry receiving the lowest level of public support, its film quality is higher than that of other selected countries. Second, the impact of subsidies on film quality turns out to be positive for the French, UK, and US films while it is negative or nil for Korean films. Although these results reflect partly differences in the background of each film industry and its public support in the four countries, they suggest that the effectiveness of subsidies and enhancement of film quality can be best achieved by better designing the subsidy schemes—not by increasing their amount. [ABSTRACT FROM AUTHOR]