
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