
April 1, 2024
EXAMINING THE POTENTIAL DISRUPTION FROM AD-SUPPORTED STREAMING SERVICES

January 25, 2023
(H)OM(E)NIBUS CULTURE AT A TIME OF LOCKDOWN

December 13, 2022
CULTURAL EXPENDITURE OF THOSE WHO ENTER (OR EXIT) UNEMPLOYMENT

May 3, 2022
ASSERTING EMOTIONS FOR VIRTUAL REALITY: TOWARD EXPERIENCE SCORING

February 15, 2022
GLOBALIZATION AND THE RISE OF ACTION MOVIES IN HOLLYWOOD

October 12, 2021
STUDIOS VS. STREAMING: WHICH ‘LOGIC’ WILL PREVAIL IN HOLLYWOOD?

May 11, 2021
BARGAINING OVER THE BALLET

March 16, 2021
WHAT DRIVES CULTURAL PARTICIPATION OF IMMIGRANTS IN THE HOST COUNTRY?

December 8, 2020
“IN THE MOOD FOR TECHNOLOGY?”: DIGITAL AND CINEMA

September 1, 2020
TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA

March 31, 2020
LEVERAGING ANALYTICS TO PRODUCE COMPELLING AND PROFITABLE FILM CONTENT

February 18, 2020
ICCA 2020: CULTURAL POLICY, WHAT’S NEW?

October 1, 2019
FROM POPULAR TO HIGHBROW CULTURE: THE CHANGING ROLE OF EDUCATION

June 4, 2019
BOLLYWOOD’S BATTLE

February 26, 2019
CULTURAL DIVERSITY OF THE FILM INDUSTRY IN THE EU

December 4, 2018