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VPAA12-vpaa12代写
时间：2023-04-20
VPAA12 Final Review (Part 1)
UTSC 导师：Jessica
1
VPAA12
Developing Audience, Resources, and Community
Agenda:
1. 梳理考试模式，考试拿分点讲解
2. Week 2 知识点讲解
3. Week 3 知识点讲解
4. Week 4 知识点讲解
5. Week 5 知识点讲解
6. Week 7 知识点讲解
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TEST INFO
基础考试信息：
• 考试时间：4.20 下午 5 点----4.21 晚上 7 点
• 考试时长：开窗口后 2 小时内完成
• 考试范围：Week 2～11（考试内容只占 8 周）
• 考试模式：选择题和简答题
• 考试占比：25%
考试技巧分享：
• 把 Final Review 的 6 个小时视频看完，看的时候拿张纸做笔记，将不会的内容摘抄下来，
课后在 VIP 小群询问，每位同学不熟悉的知识点将会被进一步讲解
o 注：4.20 下午 5 点至考试结束不会回复任何学员的问题
• 看 Week2-11 周课中 Top Hat 的题目
o 选择题看题目的 title，从而了解老师的考点
o 简答题看周课中的解题思路和标准答案，熟悉高效回答问题的方式
• 在 VIP 询问 Top Hat 中还不是很清晰的题目
• 如果还有剩余的时间可以了解一下哪个 week 的板块不是很熟练，回到周课中再看一遍
• 选择题的 Tips
o 快速浏览题目和选项，了解问题的大致内容
o 从容易的题目开始，难度较大的题目可以先跳过，待所有题目完成后再回头解答
o 排除明显错误的选项，缩小选择范围
o Openbook 的考试，可以在回答特定题目时，尝试在原文或资料中找到相关信息
o 预先设定一个合理的时间限制，遵循这个时间限制，留出一部分时间给简答题
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WEEK 2
Culture Definition:
• The tastes in art and manners that are favored by a social group
o 一个社会群体所喜爱的艺术和礼仪的品味
• All the knowledge and values shared by a society
o 一个社会所共享的所有知识和价值观
• The attitudes and behavior that are characteristic of a particular social group or organization
（civilization 文明）
o 个特定的社会群体或组织所特有的态度和行为
• A particular society at a particular time and place
o 在特定的时间和地点的特定社会
Who administers and manages “the art” ?
• “A ministry of culture is an administrative agency responsible for public support of these artistic
activities and often the humanities and scholarship as well” - Raymond Williams.
o 文化部是一个行政机构，负责对这些艺术活动提供公共支持，通常也包括对人文和
学术的支持。
• Ministers of culture are an integral component of public policy.
o 文化政策是公共政策的一个组成部分
What is cultural policy as a component of public policy?
• A set of coherent principles, objectives and means to protect and foster its country's cultural
expression.
o 文化政策是一个政府愿意采取和实施一套连贯的原则、目标和手段来保护和促进其
国家的文化表现形式的表达。
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• Culture provides boundless resources in responding and adapting to development challenges by
playing a transversal and effective role in all areas of public policy.
o 文化通过在公共政策的所有领域发挥横向和有效的作用，为应对和适应发展挑战提
供了无限的资源。
• Cultural policy is the government actions, laws and programs that regulate, protect, encourage
and financially (or otherwise) support activities related to the arts and creative sectors
o 文化政策是指规范、保护、鼓励和在财政上（或其他方面）支持与艺术和创意部门
有关的活动的政府行为
• Cultural policies vary from one country to another, but generally they aim to improve the
accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic,
sociolinguistic, literary and other expressions of all people in a country.
o 文化政策因国家而异，但一般来说，它们的目的是提高公民对艺术和创造性活动的
可及性，并促进一个国家所有人的艺术、音乐、民族、社会语言、文学和其他表现
形式。
• 总结：文化政策作为公共政策的一个组成部分，是指政府为支持、促进和管理文化活动、
机构和产业而制定的指导方针、战略和决定。它的目的是保护文化遗产，培养创造力，促
进多样性，并提高社会的文化认同和价值。
Cultural vs. Creative industries
Cultural Industries:
• “A principal aim is to examine policies which are explicitly formulated as cultural (or creative)
industries policies. ”
o 文化政策是一个主要目的是研究那些明确制定为文化（或创意）产业政策的政策。
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• “Cultural and creative sectors are important for ensuring the continued development of societies
and are at the heart of the creative economy. Knowledge-intensive and based on individual
creativity and talent, they generate considerable economic wealth.”
o 文化和创意部门对于确保社会的持续发展非常重要，是创意经济的核心。它们是知
识密集型的，以个人的创造力和才能为基础，创造了可观的经济财富
• 文化产业主要是指以文化产品和文化服务为主的产业，包括出版、广播、电影、戏剧、音
乐、艺术等领域。这些产业主要关注的是传播文化价值、传统和历史，以满足人们的精神
文化需求。总体来说，文化产业强调的是文化传统、文化遗产以及文化价值的传承和发
扬。
Creative Industries:
• “Creative industries are those based on individual creativity, skill and talent, or which have the
potential to create wealth and jobs through the development or production of intellectual
property.”
o 创意产业是指那些基于个人创造力、技能和才能，或有可能通过开发或生产知识产
权创造财富和就业机会的产业。
• 创意产业则是以创新和创意为核心，涉及设计、广告、建筑、时尚、软件开发、游戏、新
媒体等领域。这些产业的特点是强调原创性、创新性以及商业价值。它们往往通过技术、
艺术和设计等手段，将创意转化为具有市场价值的产品和服务。因此，创意产业更注重的
是创新和创意在经济发展中的作用。
The difference between Cultural Industries and Creative Industries:
• The concept of “cultural industries” is more related to cultural heritage and traditional forms of
creation, while “creative industries” includes the applied arts practices, innovations and generating
profit and creation of jobs by creating intellectual property.
o 文化产业 "的概念更多的是与文化遗产和传统的创造形式有关，而 "创意产业 "则包
括应用艺术实践、创新以及通过创造知识产权而产生利润和创造就业机会。
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• 文化产业和创意产业的主要区别在于它们的核心关注点。文化产业关注文化传承和价值，
而创意产业则着重于创新和创意的经济价值。尽管两者在某些领域存在交叉和互动，但它
们在目标和特点上仍有所不同。
• Cultural Industries
o 传授下来的一些习俗，惯例，文化遗产
• Creative Industries
o 强调的是一个创新的过程，用新型模式去创造新的产业
Creative Industries Mapping Document (UK Labour government, 1997)
• This document defined the creative industries as:
o “Those industries which have their origin in individual creativity, skill and talent which
have a potential for job and wealth creation through the generation and exploitation of
intellectual property.”
§ 那些起源于个人创造力、技能和才能的产业，通过创造和利用知识产权有
可能创造就业和财富。
o “Instead, we suggest a both/ and framework to include the critical discourses that challenge
not only the afore-mentioned aspects but also the economic frameworks that have tended
to ignore or undervalue the non- commercial sectors of the creative industries.”
（Thompson and Campbell, 6）
§ 相反，我们提出了一个既包括批评性话语又包括框架的建议，这些话语不
仅对上述方面提出了挑战，而且还对倾向于忽视或低估创意产业非商业部
门的经济框架提出了挑战。
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Massey Commission：
• “The Massey Commission was formally known as the Royal Commission on National
Development in the Arts, Letters and Sciences. It was officially appointed by Prime Minister
Louis St-Laurent on 8 April 1949. Its purpose was to investigate the state of arts and culture in
Canada.”
o 梅西委员会 "的正式名称是皇家艺术、文学和科学国家发展委员会。它于 1949年 4
月 8日由总理路易斯-圣洛朗正式任命。其目的是调查加拿大的艺术和文化状况
重要时刻：
• 1960s – 1970s (era of SPENDING, CanCon Regulation, multiculturalism):
o Expo 67
§ The 1967 International and Universal Exposition
o New production institutions: CFMDC (now Telefilm) (1967); NAC (1969)
o Broadcast Act/CRTC (1968); CanCon (1971)
o Royal Commission on Bilingualism and Biculturalism (‘60s-’70s) 语和双文化问题皇家
委员会
o Multiculturalism Policy (1972, Trudeau) 多元文化主义政策
• 1980s – 1990s (era of increased labour force, Status of the Artist, Crown Corporations)
o Cultural policies passed helped to formalize institutionalization of internal and external
creative economy labour force 通过的文化政策有助于内部和外部创意经济劳动力的
正式制度化
o NAFTA (1988, 1994)
§ North American Free Trade Agreement
o Status of the Artist Act (1995) + Changes to the Copyright Act (1988, 1997)
o Canada New Media Fund (1998)
• 2000s (era of digitization, diversity, diversion)
o Diversity incentives strengthened/diverted/prioritized (changes up and down by
government and global influences) 多样性激励措施得到加强/转移/优先考虑（受政府
和全球影响，上下变化）
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o Shifts in Cultural Heritage policy mitigation in the House 众议院在文化遗产政策方面
的缓解变化
o CMF = Digitization (2008-2011)
§ CMF：Canadian Media Fund
o 2014-2015: major spending reductions (post 2008 recession effect)
o Copyright Modernization Act (2012)
o Canada 150 celebrations and spending
o Creative Canada Policy Framework (2017)
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WEEK 3
What is Public Arts Funding?
• “As a non-profit organization, Public Art Fund relies on contributions from individuals,
corporations, and foundations to make extraordinary public art available and accessible to
audiences of all ages and backgrounds”
• 作为一个非营利性组织，公共艺术基金依靠个人、企业和基金会的捐款，向所有年龄和背
景的观众提供非同寻常的公共艺术。
• 公共艺术资助是指政府或其他公共机构为支持、发展和推广艺术活动、项目、组织和个人
提供的资金支持。这种资助通常用于资助艺术创作、表演、展览、教育和社区活动等，旨
在提高艺术水平，丰富民众的文化生活，以及推动文化产业的发展。公共艺术资助体现了
政府对艺术和文化的重视，并有助于保护和传承文化遗产。
How does Public Arts Funding impact resource development?
• Support the development creative, intellectual and emotional insights into society
• 支持发展对社会的创造性、智力和情感的洞察力
• Support the cultural unification
• 支持文化的统一
• Boost economic growth
• 促进经济增长
• Protect and express a community’s value
• 保护和表达一个社区的价值
• Preserve the community identity and social wellbeing
• 维护社区认同和社会福利
Development of Mixed/Balanced Model
• Eligibility stipulations 资格认证规定
• Early recipients were largely funded 早期的受援者被大量资助
• By 1990s, diversity mandates increased = money spread thin 到 20 世纪 90 年代，多样性任务
增加=资金分散
• Presently, many organizations depend on private funding 目前，许多组织依赖私人资金
• Mixed model = 1/3?
• Continues to be made up by federal, provincial, municipal funds 继续由联邦、省、市资金补足
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Comparisons to other models:
AMERICAN MODEL:
• Individual donors and philanthropic foundations 个人捐助者和慈善基金会
• Indirect government impact (i.e.., tax refunds) 政府的间接影响(即退税)
EUROPEAN MODEL:
• Varies widely across countries 各国的情况大不相同
• Continues to be under pressure 继续面临压力
• Funding matches policy/governmental priorities 资金与政策/政府优先事项相匹配
Canada’s model-Strength and Challenges:
Strengths Challenges
Arts orgs are resilient 艺术机构是有弹性的 Arts orgs are resilient 艺术机构是有弹性的
Arts orgs remain accountable to their communities 艺术机构
体仍然对其社区负责
Access to funding continues to be more competitive 获 得
资金的竞争继续加剧
Despite global uncertainties, stable income can be expected
尽管有全球的不确定性，但可以预期会有稳定的收入
Access to funding continues to be inequitable 获得资 金的
机会仍然是不公平的
Values/programming remains unjeopardized by
private/corporate funding 价值观/方案制定不受私 人/公司
资金的影响
Non-profit model is at risk 非营利性模式面临风险
Allows for risk taking 允许承担风险 Restricts risk taking 限制了风险的承担
Grants are (human + product) resource-heavy 赠款是 (人力
+产品)资源密集型的
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From Mixed/Balanced To A Balancing Act:
“Keeping an arts organization healthy in Canada is a balancing act between time spent on administrative
and artistic work, generating private and public revenue sources, taking artistic risks, hitting earned
revenue targets, and staying relevant to current audiences while engaging new ones.” – Kelly Willhelm
"在加拿大保持一个艺术组织的健康发展，是在行政和艺术工作上花费的时间、创造私人和公共收
入来源、承担艺术风险、达到收入目标、在吸引新观众的同时保持与现有观众的联系之间的平衡
行为。"
Difference between value and valuation:
1. “Value meant the worth of a thing, and valuation meant an estimate of its worth”
2. Value 价值
1. The quality (positive or negative) that renders something desirable or valuable 使 某物变
得可取或有价值的品质(正面或负面)
2. A numerical quantity measured or assigned or computed 测量或分配或计算的一 个数
字量
3. The amount (of money or goods or services) that is considered to be a fair equivalent for
something else 被认为是其他东西的公平等价物的(金钱或货物
或服务)的数量
3. Valuation 估价
1. An appraisal of the value of something 对某物价值的评估
2. Assessed price 评估价格
Economic value
• Reflects market goods and/or utility 反映了市场商品和/或效用
• Expressed in financial terms 以财务术语表示
• Clear-cut definition/understanding 清晰的定义/理解
Cultural value
• Often applies to art and “culture” BUT much more ambiguous to define 通常适用于艺术和 "
文化"，但定义更为模糊。
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Who assess?
• Experts! 专家们
• People who“know”and“practice” "了解 "和 "实践 "的人
• Public opinion/polling 公众意见/民意调查
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WEEK 4
How to pay for media production?
• Public investment (grants+tax credits) 公共投资(赠款+税收减免)
• Broadcast, distribution license 广播、发行许可证
• Private investment (patrons, investors) 私人投资(赞助人、投资者)
• Unit sales 单位销售
• Crowdfunding 集体筹资
What is a tax credit?
o Personal benefit: e.g. HST refund if I make below a certain amount; child tax credit
§ 个人利益:例如，如果我的收入低于一定数额，就可以获得 HST 退 款;儿童税收抵免。
o Media (film, tv, games, animation) tax benefit: refund on a portion of costs of labour or other
production costs (i.e. from the “how are you going to pay for it” question in a previous slide)
§ 媒体(电影、电视、游戏、动画)税收优惠:对部分劳动力成本或其 他生产成本进行退税(即来自
上一张幻灯片中的 "你打算如何支付 " 问题)
Eight categories of Media Financing
o Creative industries agencies 创意产业机构
o NFB (National Film Board) +Indigenous Screen Office 国家广播局+土著屏幕办公室
o Broadcaster license 广播公司许可证
o CMF(BDUs) (Canada Media Fund)+Telefilm 加拿大媒体基金+电信电影
oIndependent Funds (Rogers, Cogeco etc.) 独立基金(Rogers, Cogeco 等)
• Rogers: a Canadian communications and media company
• Cogeco: a Canadian telecommunications and media company
o PCH or ISED
• PCH: Publishers Clearing House
• ISED: Innovation, Science And Economic Development Canada
o Venture or private capital 风险投资或私人资本
o Crowdfunding 集体筹资
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Private Funding-Revenue Streams: • Philanthropy for NFPs: 非营利组织的慈善事业
• Foundations 基金会
• Fundraising with Donors 向捐赠者筹款
• Planned/Legacy Giving 计划/遗产捐赠
• Special Events 特别活动
• Crowdfunding 众筹
• For-profit financing: 营利性融资
• Crowdfuning 众筹
• Fundraising 筹集资金
• Sponsorship/Corporate 赞助/公司资助
• Partnerships 合作伙伴关系
• Special Events 特别活动
Private Funding
• The Metcalf Foundation (Sandy Houston article) 梅特卡夫基金会
• Established from family endowments (1960,George Cedric Metcalf.) 由家族捐赠成立
• Metcalf focuses on professional performing arts: music, dance, theatre, operain Southern Ontario
梅特卡夫专注于专业表演艺术:音乐、舞蹈、戏剧、南安大略省歌剧。
• 2 main streams:
o (1) resilience and vitality of arts orgs: experimentation, risk-taking, learning 艺术团体的
复原力和活力:实验、冒险、学习
o (2) training, transitions, internships 培训、过渡、实习
• Newstream: access, equity, inclusion, diversity (new thinking practice) 新主流:获取、公 平、包
容、多样性(新思维实践)
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Successful Fundraising Effort:
• The organization’s mission (or the project) is worthy of financial support
o 该组织的使命（或项目）是值得资助的
• This financial support is essential to the success of the project/organization
o 这种财政支持对项目/组织的成功至关重要
• Those involved have the capacity to reach the stated goals
o 参与的人有能力达到既定的目标
• The donors/funders will fulfill their own goals or needs through this support (“alignment”, “fit”)
o 捐赠者/资助者将通过这种支持实现自己的目标或需求（"一致"、"适合"）。
• The organization will honor the donor/funder and their support in some meaningful way
o 该组织将以某种有意义的方式来纪念捐赠者/资助者及其支持。
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WEEK 5
What is International Pitch Forums:
• 国际路演论坛是一个在全球范围内组织的活动，旨在为创意产业的项目提供一个展示、推
广和寻求投资的平台。在这些论坛上，项目团队、创作者、制片人等可以向潜在的投资
者、发行商、合作伙伴和行业专家展示他们的项目，并寻求资源、建立联系和合作关系。
• 国际路演论坛通常涵盖电影、电视、动画、游戏、新媒体等创意产业领域。这些活动不仅
有助于项目团队寻找到投资和支持，还有助于推动行业交流、合作和创新。此外，国际路
演论坛还为新兴创意产业的发展提供了一个展示国际市场趋势和机遇的窗口
The risk of International Pitch Forums:
o Expensive (flight, festival, pitch; hard to pitch money to cover the pitch!)
o 昂贵的价格（航班、节日、场地；很难投钱来支付场地费用！）
o No guarantee of financing/award
o 不保证融资/赠款
o Extensive prep (7-min speech)
o 广泛的准备工作（7分钟的演讲）
o Filmmakers as entertainment
o 电影制作人作为娱乐活动
o Especially difficult for early career filmmakers
o 对早期职业的电影人来说尤其困难
o Funding doesn’t always come through
o 资金并不总是能到位
o Doesn’t secure broadcasting
o 不能保证广播的安全性
o Cost of “market” hoping for producers
o 生产者的 "市场 "希望成本
The rewards of International Pitch Forums:
o Networking Hubs
o 网络枢纽
o Time/ability to refine production strategy and content
o 完善生产策略和内容的时间/能力
o Klout/legitimacy
o 声望/信誉度
o Access to a table of financers (even if you don’t win!)
o 进入融资者名单（即使你没有获胜！）
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o Pay off in “the long run”
o 在 "长期 "中得到回报
o Big stage; big visibility
o 大舞台；大曝光
The Cuban Hat Pitch！
o A non-profit initiative founded in 2009 by Montreal-based creators Diego Briceno and Giulia
Frati.
o 由蒙特利尔的创作者 Diego Briceno和 Giulia Frati于 2009 年创立的非营利性倡议
o When Crowdfunding meets Crowdsourcing: “The Crowd-Market”
o 当众筹遇到众包。"众筹市场"
o “No strings attached” pitch session
o "无附加条件 "的推销会议
o “Crowd” and “experts” usually agree!
o "群众 "和 "专家 "通常会达成一致意见
o Pitching is about building community…as much as it is about finding money.
o 推销是关于建立社区......就像它是关于寻找资金一样
o 古巴帽子路演是一种独特的电影项目路演活动，让电影制片人向观众和行业专业人士展示
他们的项目，以寻求合作、支持和投资。这个名字来源于活动的一个特色环节：观众在现
场将现金投入一顶古巴帽子，作为对中选项目的奖励。这种路演方式强调了观众参与和支
持，为独立电影项目提供了一种创新的筹款方式。
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WEEK 7
Marketing in Art & Media Management:
• The practice of creating interest in a product or service and convincing potential consumers to buy
it.
o 市场管理是一种营销策略和手段，促进消费
• Marketing’s primary function in arts is to ensure that the artistic potential of the product is suitably
managed and transferred from the artist to different publics.
o 市场营销在艺术中的主要功能是确保产品的艺术潜力得到适当的管理，并从艺术家
那里转移到不同的公众
怎么去理解Marketing的四大应用：
• 促进销售：市场营销可以帮助艺术传媒机构或个人提高作品或服务的知名度和认可度，吸
引潜在的客户或观众，并激发他们的购买欲望。通过制定合适的营销策略，可以提高销售
额和利润。
• 建立品牌形象：市场营销可以帮助艺术传媒机构或个人塑造品牌形象，包括品牌识别、品
牌价值观、品牌信誉等方面。艺术传媒机构或个人可以通过不同的营销手段来传达自己的
品牌形象，如广告、公关活动、社交媒体营销等。
• 竞争优势：市场营销可以帮助艺术传媒机构或个人获得竞争优势。通过了解目标市场和竞
争对手的情况，可以制定出更有竞争力的营销策略，包括定价策略、产品差异化、服务创
新等。
• 客户关系管理：市场营销可以帮助艺术传媒机构或个人与客户建立良好的关系。通过了解
客户的需求和反馈，可以提供更贴近客户需求的产品或服务，并及时解决客户问题，建立
长期的客户关系。
Marketing ≠ Advertising （Advertising is only a part of marketing：promotion）
The Marketing Mix （the 4Ps）
• Product
o What are the consumer buying 顾客买了什么
o Consumer/audience motivation 是什么引起了顾客的购买欲
o Usually decide after the other 3Ps（Price，Place，Promotion）
o Marketers usually think in two ways
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§ What they are selling？卖方在卖什么？
§ What the consumer is buying？买方想买什么？
o Audience development is a part of the mission of every producing/ presenting/ exhibiting
arts and media organization. 观众发展是每个制作/展示/展览的艺术和媒体机构的使命
之一。
§ Meet the current needs of its audiences
§ Reach new audiences (that may have different needs)
o Marketing mindset
§ Marketing is related to everything that the customer experiences (everything
“audience-facing”) 营销与客户体验的一切相关（所有 "面向受众 "的东西）
§ Every part of the experience needs to be studied for its effect on the audience in
order for marketing---and ultimately the organization---to be successful. 体验的
每一部分都需要研究其对受众的影响，以便使营销--以及最终的组织--获得
成功。
o 成功的 product marketing 和Where，Who，How有关
§ Where：the location of the venue, the placement on the shelf 场地的位置，在
架子上的位置
§ Who: Agent, distributors, retailers 代理商、分销商、零售商
§ How: 运营的手段
• Place
o Place-related choices will influence
§ Your market reach 你的市场覆盖率
§ How much you can charge (price) 你能收取多少钱（价格）？
§ How much you will earn (profit) 你会赚多少钱（利润）？
§ The level of customer support you will need to provide 你需要提供的客户支持
的程度
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• Promotion
o Advertising, Direct Marketing, Public Relations (PR), Sales Promotions
o The Donor Pyramid (related to fundraising)
The Donor Pyramid 是一种常用的慈善筹款模型，旨在说明慈善组织如何通过吸引不同类型的捐赠
者来实现其筹款目标。该模型将潜在捐赠者分为五个层次，从底部到顶部依次：
1.Unaware（不知道）：这些人对慈善组织及其使命一无所知。
2.Aware（知道）：这些人知道慈善组织及其使命，但尚未作出捐赠。
3.Consumers（消费者）：这些人是最热心的支持者，不仅经常捐赠和宣传，而且会成为慈善组织
的忠实消费者，参加活动、购买商品等。
4.Donors（捐赠者）：这些人曾经或正在捐赠给慈善组织。
5.Missionaries（传教士）：这些人是忠实的支持者，不仅经常捐赠，而且会积极地宣传慈善组织
及其使命。
o A full promotion message will
§ Cut through the message clutter 削减信息的杂乱性
§ Accurately describe the product/organization 准确地描述产品/组织
§ Communicate how it is the best to meet needs 沟通如何才能最好地满足需求
§ Appeal to audiences emotionally or aesthetically 在情感上或审美上吸引观众的
注意力
§ Ecourage them to purchase 鼓励他们购买
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o AIDA
§ Create awareness建立意识
§ Arouse interest 引起兴趣
§ Increase desire 增加欲望
§ Elicit action 激发行动
o Audiences also need to be able to picture themselves: Representation matters. 众也需要
能够描绘自己:代表性很重要。
• Price
o What customers will pay (plus other, related costs)
o Simplified Pricing Factors
§ Production costs 生产成本
§ Agent or dealer (gallerist) commissions 代理人或经销商（画廊主）的佣金
§ Profit margin 利润率
§ Quality 质量
§ Artistic/Professional reputation 艺术/专业声誉
§ Market demand 市场需求
§ What your colleagues charge 你的同事收取什么费用
§ “What the market will bear” "市场将承受的"
o “Tiered” pricing in the arts = “price lining” in business
§ "Tiered pricing" 在艺术领域中指的是根据观众的身份、座位等级、时间等
因素设置不同的价格档次，通常价格越高，观赏体验也越好。
§ 而在商业领域中，“price lining” 是一种将产品或服务分为不同的价格层次的
策略。这种策略通常会在不同的产品或服务之间设置价格差异，以满足不
同的消费者需求。价格较高的产品或服务通常会带来更高的利润，因此企
业可以通过这种策略来提高销售额和利润率。
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VPAA12
Developing Audience, Resources, and Community
Agenda:
1. 梳理考试模式，考试拿分点讲解
2. Week 2 知识点讲解
3. Week 3 知识点讲解
4. Week 4 知识点讲解
5. Week 5 知识点讲解
6. Week 7 知识点讲解
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TEST INFO
基础考试信息：
• 考试时间：4.20 下午 5 点----4.21 晚上 7 点
• 考试时长：开窗口后 2 小时内完成
• 考试范围：Week 2～11（考试内容只占 8 周）
• 考试模式：选择题和简答题
• 考试占比：25%
考试技巧分享：
• 把 Final Review 的 6 个小时视频看完，看的时候拿张纸做笔记，将不会的内容摘抄下来，
课后在 VIP 小群询问，每位同学不熟悉的知识点将会被进一步讲解
o 注：4.20 下午 5 点至考试结束不会回复任何学员的问题
• 看 Week2-11 周课中 Top Hat 的题目
o 选择题看题目的 title，从而了解老师的考点
o 简答题看周课中的解题思路和标准答案，熟悉高效回答问题的方式
• 在 VIP 询问 Top Hat 中还不是很清晰的题目
• 如果还有剩余的时间可以了解一下哪个 week 的板块不是很熟练，回到周课中再看一遍
• 选择题的 Tips
o 快速浏览题目和选项，了解问题的大致内容
o 从容易的题目开始，难度较大的题目可以先跳过，待所有题目完成后再回头解答
o 排除明显错误的选项，缩小选择范围
o Openbook 的考试，可以在回答特定题目时，尝试在原文或资料中找到相关信息
o 预先设定一个合理的时间限制，遵循这个时间限制，留出一部分时间给简答题
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WEEK 2
Culture Definition:
• The tastes in art and manners that are favored by a social group
o 一个社会群体所喜爱的艺术和礼仪的品味
• All the knowledge and values shared by a society
o 一个社会所共享的所有知识和价值观
• The attitudes and behavior that are characteristic of a particular social group or organization
（civilization 文明）
o 个特定的社会群体或组织所特有的态度和行为
• A particular society at a particular time and place
o 在特定的时间和地点的特定社会
Who administers and manages “the art” ?
• “A ministry of culture is an administrative agency responsible for public support of these artistic
activities and often the humanities and scholarship as well” - Raymond Williams.
o 文化部是一个行政机构，负责对这些艺术活动提供公共支持，通常也包括对人文和
学术的支持。
• Ministers of culture are an integral component of public policy.
o 文化政策是公共政策的一个组成部分
What is cultural policy as a component of public policy?
• A set of coherent principles, objectives and means to protect and foster its country's cultural
expression.
o 文化政策是一个政府愿意采取和实施一套连贯的原则、目标和手段来保护和促进其
国家的文化表现形式的表达。
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• Culture provides boundless resources in responding and adapting to development challenges by
playing a transversal and effective role in all areas of public policy.
o 文化通过在公共政策的所有领域发挥横向和有效的作用，为应对和适应发展挑战提
供了无限的资源。
• Cultural policy is the government actions, laws and programs that regulate, protect, encourage
and financially (or otherwise) support activities related to the arts and creative sectors
o 文化政策是指规范、保护、鼓励和在财政上（或其他方面）支持与艺术和创意部门
有关的活动的政府行为
• Cultural policies vary from one country to another, but generally they aim to improve the
accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic,
sociolinguistic, literary and other expressions of all people in a country.
o 文化政策因国家而异，但一般来说，它们的目的是提高公民对艺术和创造性活动的
可及性，并促进一个国家所有人的艺术、音乐、民族、社会语言、文学和其他表现
形式。
• 总结：文化政策作为公共政策的一个组成部分，是指政府为支持、促进和管理文化活动、
机构和产业而制定的指导方针、战略和决定。它的目的是保护文化遗产，培养创造力，促
进多样性，并提高社会的文化认同和价值。
Cultural vs. Creative industries
Cultural Industries:
• “A principal aim is to examine policies which are explicitly formulated as cultural (or creative)
industries policies. ”
o 文化政策是一个主要目的是研究那些明确制定为文化（或创意）产业政策的政策。
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• “Cultural and creative sectors are important for ensuring the continued development of societies
and are at the heart of the creative economy. Knowledge-intensive and based on individual
creativity and talent, they generate considerable economic wealth.”
o 文化和创意部门对于确保社会的持续发展非常重要，是创意经济的核心。它们是知
识密集型的，以个人的创造力和才能为基础，创造了可观的经济财富
• 文化产业主要是指以文化产品和文化服务为主的产业，包括出版、广播、电影、戏剧、音
乐、艺术等领域。这些产业主要关注的是传播文化价值、传统和历史，以满足人们的精神
文化需求。总体来说，文化产业强调的是文化传统、文化遗产以及文化价值的传承和发
扬。
Creative Industries:
• “Creative industries are those based on individual creativity, skill and talent, or which have the
potential to create wealth and jobs through the development or production of intellectual
property.”
o 创意产业是指那些基于个人创造力、技能和才能，或有可能通过开发或生产知识产
权创造财富和就业机会的产业。
• 创意产业则是以创新和创意为核心，涉及设计、广告、建筑、时尚、软件开发、游戏、新
媒体等领域。这些产业的特点是强调原创性、创新性以及商业价值。它们往往通过技术、
艺术和设计等手段，将创意转化为具有市场价值的产品和服务。因此，创意产业更注重的
是创新和创意在经济发展中的作用。
The difference between Cultural Industries and Creative Industries:
• The concept of “cultural industries” is more related to cultural heritage and traditional forms of
creation, while “creative industries” includes the applied arts practices, innovations and generating
profit and creation of jobs by creating intellectual property.
o 文化产业 "的概念更多的是与文化遗产和传统的创造形式有关，而 "创意产业 "则包
括应用艺术实践、创新以及通过创造知识产权而产生利润和创造就业机会。
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• 文化产业和创意产业的主要区别在于它们的核心关注点。文化产业关注文化传承和价值，
而创意产业则着重于创新和创意的经济价值。尽管两者在某些领域存在交叉和互动，但它
们在目标和特点上仍有所不同。
• Cultural Industries
o 传授下来的一些习俗，惯例，文化遗产
• Creative Industries
o 强调的是一个创新的过程，用新型模式去创造新的产业
Creative Industries Mapping Document (UK Labour government, 1997)
• This document defined the creative industries as:
o “Those industries which have their origin in individual creativity, skill and talent which
have a potential for job and wealth creation through the generation and exploitation of
intellectual property.”
§ 那些起源于个人创造力、技能和才能的产业，通过创造和利用知识产权有
可能创造就业和财富。
o “Instead, we suggest a both/ and framework to include the critical discourses that challenge
not only the afore-mentioned aspects but also the economic frameworks that have tended
to ignore or undervalue the non- commercial sectors of the creative industries.”
（Thompson and Campbell, 6）
§ 相反，我们提出了一个既包括批评性话语又包括框架的建议，这些话语不
仅对上述方面提出了挑战，而且还对倾向于忽视或低估创意产业非商业部
门的经济框架提出了挑战。
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Massey Commission：
• “The Massey Commission was formally known as the Royal Commission on National
Development in the Arts, Letters and Sciences. It was officially appointed by Prime Minister
Louis St-Laurent on 8 April 1949. Its purpose was to investigate the state of arts and culture in
Canada.”
o 梅西委员会 "的正式名称是皇家艺术、文学和科学国家发展委员会。它于 1949年 4
月 8日由总理路易斯-圣洛朗正式任命。其目的是调查加拿大的艺术和文化状况
重要时刻：
• 1960s – 1970s (era of SPENDING, CanCon Regulation, multiculturalism):
o Expo 67
§ The 1967 International and Universal Exposition
o New production institutions: CFMDC (now Telefilm) (1967); NAC (1969)
o Broadcast Act/CRTC (1968); CanCon (1971)
o Royal Commission on Bilingualism and Biculturalism (‘60s-’70s) 语和双文化问题皇家
委员会
o Multiculturalism Policy (1972, Trudeau) 多元文化主义政策
• 1980s – 1990s (era of increased labour force, Status of the Artist, Crown Corporations)
o Cultural policies passed helped to formalize institutionalization of internal and external
creative economy labour force 通过的文化政策有助于内部和外部创意经济劳动力的
正式制度化
o NAFTA (1988, 1994)
§ North American Free Trade Agreement
o Status of the Artist Act (1995) + Changes to the Copyright Act (1988, 1997)
o Canada New Media Fund (1998)
• 2000s (era of digitization, diversity, diversion)
o Diversity incentives strengthened/diverted/prioritized (changes up and down by
government and global influences) 多样性激励措施得到加强/转移/优先考虑（受政府
和全球影响，上下变化）
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o Shifts in Cultural Heritage policy mitigation in the House 众议院在文化遗产政策方面
的缓解变化
o CMF = Digitization (2008-2011)
§ CMF：Canadian Media Fund
o 2014-2015: major spending reductions (post 2008 recession effect)
o Copyright Modernization Act (2012)
o Canada 150 celebrations and spending
o Creative Canada Policy Framework (2017)
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WEEK 3
What is Public Arts Funding?
• “As a non-profit organization, Public Art Fund relies on contributions from individuals,
corporations, and foundations to make extraordinary public art available and accessible to
audiences of all ages and backgrounds”
• 作为一个非营利性组织，公共艺术基金依靠个人、企业和基金会的捐款，向所有年龄和背
景的观众提供非同寻常的公共艺术。
• 公共艺术资助是指政府或其他公共机构为支持、发展和推广艺术活动、项目、组织和个人
提供的资金支持。这种资助通常用于资助艺术创作、表演、展览、教育和社区活动等，旨
在提高艺术水平，丰富民众的文化生活，以及推动文化产业的发展。公共艺术资助体现了
政府对艺术和文化的重视，并有助于保护和传承文化遗产。
How does Public Arts Funding impact resource development?
• Support the development creative, intellectual and emotional insights into society
• 支持发展对社会的创造性、智力和情感的洞察力
• Support the cultural unification
• 支持文化的统一
• Boost economic growth
• 促进经济增长
• Protect and express a community’s value
• 保护和表达一个社区的价值
• Preserve the community identity and social wellbeing
• 维护社区认同和社会福利
Development of Mixed/Balanced Model
• Eligibility stipulations 资格认证规定
• Early recipients were largely funded 早期的受援者被大量资助
• By 1990s, diversity mandates increased = money spread thin 到 20 世纪 90 年代，多样性任务
增加=资金分散
• Presently, many organizations depend on private funding 目前，许多组织依赖私人资金
• Mixed model = 1/3?
• Continues to be made up by federal, provincial, municipal funds 继续由联邦、省、市资金补足
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Comparisons to other models:
AMERICAN MODEL:
• Individual donors and philanthropic foundations 个人捐助者和慈善基金会
• Indirect government impact (i.e.., tax refunds) 政府的间接影响(即退税)
EUROPEAN MODEL:
• Varies widely across countries 各国的情况大不相同
• Continues to be under pressure 继续面临压力
• Funding matches policy/governmental priorities 资金与政策/政府优先事项相匹配
Canada’s model-Strength and Challenges:
Strengths Challenges
Arts orgs are resilient 艺术机构是有弹性的 Arts orgs are resilient 艺术机构是有弹性的
Arts orgs remain accountable to their communities 艺术机构
体仍然对其社区负责
Access to funding continues to be more competitive 获 得
资金的竞争继续加剧
Despite global uncertainties, stable income can be expected
尽管有全球的不确定性，但可以预期会有稳定的收入
Access to funding continues to be inequitable 获得资 金的
机会仍然是不公平的
Values/programming remains unjeopardized by
private/corporate funding 价值观/方案制定不受私 人/公司
资金的影响
Non-profit model is at risk 非营利性模式面临风险
Allows for risk taking 允许承担风险 Restricts risk taking 限制了风险的承担
Grants are (human + product) resource-heavy 赠款是 (人力
+产品)资源密集型的
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From Mixed/Balanced To A Balancing Act:
“Keeping an arts organization healthy in Canada is a balancing act between time spent on administrative
and artistic work, generating private and public revenue sources, taking artistic risks, hitting earned
revenue targets, and staying relevant to current audiences while engaging new ones.” – Kelly Willhelm
"在加拿大保持一个艺术组织的健康发展，是在行政和艺术工作上花费的时间、创造私人和公共收
入来源、承担艺术风险、达到收入目标、在吸引新观众的同时保持与现有观众的联系之间的平衡
行为。"
Difference between value and valuation:
1. “Value meant the worth of a thing, and valuation meant an estimate of its worth”
2. Value 价值
1. The quality (positive or negative) that renders something desirable or valuable 使 某物变
得可取或有价值的品质(正面或负面)
2. A numerical quantity measured or assigned or computed 测量或分配或计算的一 个数
字量
3. The amount (of money or goods or services) that is considered to be a fair equivalent for
something else 被认为是其他东西的公平等价物的(金钱或货物
或服务)的数量
3. Valuation 估价
1. An appraisal of the value of something 对某物价值的评估
2. Assessed price 评估价格
Economic value
• Reflects market goods and/or utility 反映了市场商品和/或效用
• Expressed in financial terms 以财务术语表示
• Clear-cut definition/understanding 清晰的定义/理解
Cultural value
• Often applies to art and “culture” BUT much more ambiguous to define 通常适用于艺术和 "
文化"，但定义更为模糊。
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Who assess?
• Experts! 专家们
• People who“know”and“practice” "了解 "和 "实践 "的人
• Public opinion/polling 公众意见/民意调查
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WEEK 4
How to pay for media production?
• Public investment (grants+tax credits) 公共投资(赠款+税收减免)
• Broadcast, distribution license 广播、发行许可证
• Private investment (patrons, investors) 私人投资(赞助人、投资者)
• Unit sales 单位销售
• Crowdfunding 集体筹资
What is a tax credit?
o Personal benefit: e.g. HST refund if I make below a certain amount; child tax credit
§ 个人利益:例如，如果我的收入低于一定数额，就可以获得 HST 退 款;儿童税收抵免。
o Media (film, tv, games, animation) tax benefit: refund on a portion of costs of labour or other
production costs (i.e. from the “how are you going to pay for it” question in a previous slide)
§ 媒体(电影、电视、游戏、动画)税收优惠:对部分劳动力成本或其 他生产成本进行退税(即来自
上一张幻灯片中的 "你打算如何支付 " 问题)
Eight categories of Media Financing
o Creative industries agencies 创意产业机构
o NFB (National Film Board) +Indigenous Screen Office 国家广播局+土著屏幕办公室
o Broadcaster license 广播公司许可证
o CMF(BDUs) (Canada Media Fund)+Telefilm 加拿大媒体基金+电信电影
oIndependent Funds (Rogers, Cogeco etc.) 独立基金(Rogers, Cogeco 等)
• Rogers: a Canadian communications and media company
• Cogeco: a Canadian telecommunications and media company
o PCH or ISED
• PCH: Publishers Clearing House
• ISED: Innovation, Science And Economic Development Canada
o Venture or private capital 风险投资或私人资本
o Crowdfunding 集体筹资
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Private Funding-Revenue Streams: • Philanthropy for NFPs: 非营利组织的慈善事业
• Foundations 基金会
• Fundraising with Donors 向捐赠者筹款
• Planned/Legacy Giving 计划/遗产捐赠
• Special Events 特别活动
• Crowdfunding 众筹
• For-profit financing: 营利性融资
• Crowdfuning 众筹
• Fundraising 筹集资金
• Sponsorship/Corporate 赞助/公司资助
• Partnerships 合作伙伴关系
• Special Events 特别活动
Private Funding
• The Metcalf Foundation (Sandy Houston article) 梅特卡夫基金会
• Established from family endowments (1960,George Cedric Metcalf.) 由家族捐赠成立
• Metcalf focuses on professional performing arts: music, dance, theatre, operain Southern Ontario
梅特卡夫专注于专业表演艺术:音乐、舞蹈、戏剧、南安大略省歌剧。
• 2 main streams:
o (1) resilience and vitality of arts orgs: experimentation, risk-taking, learning 艺术团体的
复原力和活力:实验、冒险、学习
o (2) training, transitions, internships 培训、过渡、实习
• Newstream: access, equity, inclusion, diversity (new thinking practice) 新主流:获取、公 平、包
容、多样性(新思维实践)
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Successful Fundraising Effort:
• The organization’s mission (or the project) is worthy of financial support
o 该组织的使命（或项目）是值得资助的
• This financial support is essential to the success of the project/organization
o 这种财政支持对项目/组织的成功至关重要
• Those involved have the capacity to reach the stated goals
o 参与的人有能力达到既定的目标
• The donors/funders will fulfill their own goals or needs through this support (“alignment”, “fit”)
o 捐赠者/资助者将通过这种支持实现自己的目标或需求（"一致"、"适合"）。
• The organization will honor the donor/funder and their support in some meaningful way
o 该组织将以某种有意义的方式来纪念捐赠者/资助者及其支持。
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WEEK 5
What is International Pitch Forums:
• 国际路演论坛是一个在全球范围内组织的活动，旨在为创意产业的项目提供一个展示、推
广和寻求投资的平台。在这些论坛上，项目团队、创作者、制片人等可以向潜在的投资
者、发行商、合作伙伴和行业专家展示他们的项目，并寻求资源、建立联系和合作关系。
• 国际路演论坛通常涵盖电影、电视、动画、游戏、新媒体等创意产业领域。这些活动不仅
有助于项目团队寻找到投资和支持，还有助于推动行业交流、合作和创新。此外，国际路
演论坛还为新兴创意产业的发展提供了一个展示国际市场趋势和机遇的窗口
The risk of International Pitch Forums:
o Expensive (flight, festival, pitch; hard to pitch money to cover the pitch!)
o 昂贵的价格（航班、节日、场地；很难投钱来支付场地费用！）
o No guarantee of financing/award
o 不保证融资/赠款
o Extensive prep (7-min speech)
o 广泛的准备工作（7分钟的演讲）
o Filmmakers as entertainment
o 电影制作人作为娱乐活动
o Especially difficult for early career filmmakers
o 对早期职业的电影人来说尤其困难
o Funding doesn’t always come through
o 资金并不总是能到位
o Doesn’t secure broadcasting
o 不能保证广播的安全性
o Cost of “market” hoping for producers
o 生产者的 "市场 "希望成本
The rewards of International Pitch Forums:
o Networking Hubs
o 网络枢纽
o Time/ability to refine production strategy and content
o 完善生产策略和内容的时间/能力
o Klout/legitimacy
o 声望/信誉度
o Access to a table of financers (even if you don’t win!)
o 进入融资者名单（即使你没有获胜！）
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o Pay off in “the long run”
o 在 "长期 "中得到回报
o Big stage; big visibility
o 大舞台；大曝光
The Cuban Hat Pitch！
o A non-profit initiative founded in 2009 by Montreal-based creators Diego Briceno and Giulia
Frati.
o 由蒙特利尔的创作者 Diego Briceno和 Giulia Frati于 2009 年创立的非营利性倡议
o When Crowdfunding meets Crowdsourcing: “The Crowd-Market”
o 当众筹遇到众包。"众筹市场"
o “No strings attached” pitch session
o "无附加条件 "的推销会议
o “Crowd” and “experts” usually agree!
o "群众 "和 "专家 "通常会达成一致意见
o Pitching is about building community…as much as it is about finding money.
o 推销是关于建立社区......就像它是关于寻找资金一样
o 古巴帽子路演是一种独特的电影项目路演活动，让电影制片人向观众和行业专业人士展示
他们的项目，以寻求合作、支持和投资。这个名字来源于活动的一个特色环节：观众在现
场将现金投入一顶古巴帽子，作为对中选项目的奖励。这种路演方式强调了观众参与和支
持，为独立电影项目提供了一种创新的筹款方式。
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WEEK 7
Marketing in Art & Media Management:
• The practice of creating interest in a product or service and convincing potential consumers to buy
it.
o 市场管理是一种营销策略和手段，促进消费
• Marketing’s primary function in arts is to ensure that the artistic potential of the product is suitably
managed and transferred from the artist to different publics.
o 市场营销在艺术中的主要功能是确保产品的艺术潜力得到适当的管理，并从艺术家
那里转移到不同的公众
怎么去理解Marketing的四大应用：
• 促进销售：市场营销可以帮助艺术传媒机构或个人提高作品或服务的知名度和认可度，吸
引潜在的客户或观众，并激发他们的购买欲望。通过制定合适的营销策略，可以提高销售
额和利润。
• 建立品牌形象：市场营销可以帮助艺术传媒机构或个人塑造品牌形象，包括品牌识别、品
牌价值观、品牌信誉等方面。艺术传媒机构或个人可以通过不同的营销手段来传达自己的
品牌形象，如广告、公关活动、社交媒体营销等。
• 竞争优势：市场营销可以帮助艺术传媒机构或个人获得竞争优势。通过了解目标市场和竞
争对手的情况，可以制定出更有竞争力的营销策略，包括定价策略、产品差异化、服务创
新等。
• 客户关系管理：市场营销可以帮助艺术传媒机构或个人与客户建立良好的关系。通过了解
客户的需求和反馈，可以提供更贴近客户需求的产品或服务，并及时解决客户问题，建立
长期的客户关系。
Marketing ≠ Advertising （Advertising is only a part of marketing：promotion）
The Marketing Mix （the 4Ps）
• Product
o What are the consumer buying 顾客买了什么
o Consumer/audience motivation 是什么引起了顾客的购买欲
o Usually decide after the other 3Ps（Price，Place，Promotion）
o Marketers usually think in two ways
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§ What they are selling？卖方在卖什么？
§ What the consumer is buying？买方想买什么？
o Audience development is a part of the mission of every producing/ presenting/ exhibiting
arts and media organization. 观众发展是每个制作/展示/展览的艺术和媒体机构的使命
之一。
§ Meet the current needs of its audiences
§ Reach new audiences (that may have different needs)
o Marketing mindset
§ Marketing is related to everything that the customer experiences (everything
“audience-facing”) 营销与客户体验的一切相关（所有 "面向受众 "的东西）
§ Every part of the experience needs to be studied for its effect on the audience in
order for marketing---and ultimately the organization---to be successful. 体验的
每一部分都需要研究其对受众的影响，以便使营销--以及最终的组织--获得
成功。
o 成功的 product marketing 和Where，Who，How有关
§ Where：the location of the venue, the placement on the shelf 场地的位置，在
架子上的位置
§ Who: Agent, distributors, retailers 代理商、分销商、零售商
§ How: 运营的手段
• Place
o Place-related choices will influence
§ Your market reach 你的市场覆盖率
§ How much you can charge (price) 你能收取多少钱（价格）？
§ How much you will earn (profit) 你会赚多少钱（利润）？
§ The level of customer support you will need to provide 你需要提供的客户支持
的程度
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• Promotion
o Advertising, Direct Marketing, Public Relations (PR), Sales Promotions
o The Donor Pyramid (related to fundraising)
The Donor Pyramid 是一种常用的慈善筹款模型，旨在说明慈善组织如何通过吸引不同类型的捐赠
者来实现其筹款目标。该模型将潜在捐赠者分为五个层次，从底部到顶部依次：
1.Unaware（不知道）：这些人对慈善组织及其使命一无所知。
2.Aware（知道）：这些人知道慈善组织及其使命，但尚未作出捐赠。
3.Consumers（消费者）：这些人是最热心的支持者，不仅经常捐赠和宣传，而且会成为慈善组织
的忠实消费者，参加活动、购买商品等。
4.Donors（捐赠者）：这些人曾经或正在捐赠给慈善组织。
5.Missionaries（传教士）：这些人是忠实的支持者，不仅经常捐赠，而且会积极地宣传慈善组织
及其使命。
o A full promotion message will
§ Cut through the message clutter 削减信息的杂乱性
§ Accurately describe the product/organization 准确地描述产品/组织
§ Communicate how it is the best to meet needs 沟通如何才能最好地满足需求
§ Appeal to audiences emotionally or aesthetically 在情感上或审美上吸引观众的
注意力
§ Ecourage them to purchase 鼓励他们购买
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o AIDA
§ Create awareness建立意识
§ Arouse interest 引起兴趣
§ Increase desire 增加欲望
§ Elicit action 激发行动
o Audiences also need to be able to picture themselves: Representation matters. 众也需要
能够描绘自己:代表性很重要。
• Price
o What customers will pay (plus other, related costs)
o Simplified Pricing Factors
§ Production costs 生产成本
§ Agent or dealer (gallerist) commissions 代理人或经销商（画廊主）的佣金
§ Profit margin 利润率
§ Quality 质量
§ Artistic/Professional reputation 艺术/专业声誉
§ Market demand 市场需求
§ What your colleagues charge 你的同事收取什么费用
§ “What the market will bear” "市场将承受的"
o “Tiered” pricing in the arts = “price lining” in business
§ "Tiered pricing" 在艺术领域中指的是根据观众的身份、座位等级、时间等
因素设置不同的价格档次，通常价格越高，观赏体验也越好。
§ 而在商业领域中，“price lining” 是一种将产品或服务分为不同的价格层次的
策略。这种策略通常会在不同的产品或服务之间设置价格差异，以满足不
同的消费者需求。价格较高的产品或服务通常会带来更高的利润，因此企
业可以通过这种策略来提高销售额和利润率。
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