December 13, 2022
CULTURAL EXPENDITURE OF THOSE WHO ENTER (OR EXIT) UNEMPLOYMENT
October 18, 2022
CREATIVE INDUSTRIES AND DIGITAL TRANSFORMATION IN CHINA
October 4, 2022
URBAN CULTURAL VIBRANCY AS A CONTRIBUTOR TO LOCAL DEVELOPMENT AND THE FUNDAMENTAL ROLE OF TERRITORIAL CONTEXT CONDITIONS
May 3, 2022
ASSERTING EMOTIONS FOR VIRTUAL REALITY: TOWARD EXPERIENCE SCORING
April 12, 2022
INTERNALIZING PRODUCTION COST AND CHANGES OF TASTES: MORE RECENT THEATRE PLAYS FEATURE FEWER ROLES
March 29, 2022
DOES COPYRIGHTS INCREASE CREATIVITY? LESSONS FROM ITALIAN OPERA DURING THE NAPOLEONIC AGE
February 1, 2022
REALITY VS. EXPECTATIONS: WHY WOULD ARTISTS FAVOUR FREE STREAMING?
January 18, 2022
WHAT IS THE CREATIVE INFLUENCE OF TEACHERS? EVIDENCE FROM MUSIC COMPOSITION SINCE 1450
December 21, 2021
BANDING TOGETHER: NEW COOPERATIVE SOLUTIONS TO PERENNIAL ECONOMIC PROBLEMS
December 7, 2021
ENTREPRENEURIAL ECOSYSTEM FRAMEWORKS FOR THE STUDY OF CULTURAL AND CREATIVE INDUSTRIES: THE CASE OF PORTO
September 28, 2021
IMPERIALIST FANTASIES AND POPULAR CULTURE: THE CASE OF TURKISH TV SOAPS
April 27, 2021
AI CANNOT FEEL EMOTIONS BUT IT COMPOSES GREAT MUSIC
February 16, 2021
BRACE YOURSELVES, PIRATES ARE COMING! THE EFFECTS OF GAME OF THRONES LEAK ON TV VIEWERSHIP
December 8, 2020
“IN THE MOOD FOR TECHNOLOGY?”: DIGITAL AND CINEMA
November 10, 2020
ARE INTERNSHIPS IN THE CULTURAL INDUSTRY (UN)FAIR? A STUDY OF THE DEMAND SIDE
October 27, 2020
WHAT EDITORS TALK ABOUT WHEN THEY TALK ABOUT EDITORS? AN ANALYSIS OF PUBLIC INTERVIEWS SEARCHING FOR MARKET AND AESTHETIC LOGICS