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The special purpose of this research was to identify the current features of illicit trade of cultural properties in Hungary and the procedures dealing with it. These offences pose a significant risk of damage to cultural property and have a strong link with organised crime. This relationship underlines the need for a criminal law approach worldwide in the field of the protection of cultural goods.

To explore the current situation in Hungary, an empirical research was conducted in 2018 with questionnaires designed to obtain data from the criminal records. To examine the phenomenon of “illicit trafficking”, the following types of crimes against cultural goods were selected: theft, dealing in stolen goods, robbery, budget fraud and criminal offences with protected cultural goods.

As a summary, it has to be stated that even though the number of the criminal procedure of these crimes in Hungary is low, it cannot be concluded that illicit trafficking of cultural goods in Hungary occurs only rarely. A specific characteristic of the phenomenon is high latency. To examine this phenomenon, the author has drawn up a list of indicators.

The aim of this project is to provide background information and materials for training programs. It is necessary to develop a more comprehensive understanding of the problem. The role of the experts is outstanding in these cases; the clear definition of their tasks and competence is very important. Information to all “actors of this scene” (from the collector to the art dealers) can contribute to the prevention too.

This study presents the characteristics of the criminal procedures and the difficulties of both the detection and the evidentiary process to provide educational material for training. The author would like to raise awareness about the problem and draw attention to the need for unified legal practice.

Although recent models of place branding have proposed culture as a crucial element in establishing a strong place or nation brand, the way in which cultural products influence the brand equity of other products from the same nation has not yet been studied. This study aims to argue that when a nation has strong legal institutions, as perceived by investors and managers, it offers fertile soil for cultivating cultural products that, when exported, can act as “cultural ambassadors,” promoting the country image in the minds of consumers and the value of the country's brands.

Exports of cultural products are provided by UNESCO. Valuable brands are those that brand finance included in its global top 500 most valuable brands list. The rule of law is provided by the World Bank. Panel regression models are used.

Supporting the hypotheses, exports of cultural products show positive effects on the value of brands from that country, and the rule of law shows positive effects on exports of cultural products.

Policymakers could improve the brand value of local firms by promoting exports of cultural products. To do so, policymakers should initiate judicial reforms that strengthen the rule of law to protect contracts and property rights.

This study examines the hitherto underexplored effects that a country's cultural product exports have on the brand value of firms from that country. Most prior research has focused on factors affecting imports of cultural products.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

This article explores how the commentary of intermediaries – third-party entities that do not have direct economic stakes in the sales of goods – can contribute to the creation of new market categories comprising preexisting but neglected and undervalued goods. Specifically, I study how the Sundance Institute facilitated the creation of a market for independent cinema in the United States, suggesting that intermediaries create market categories by defining boundaries, generating criteria of evaluation, and setting standards for measuring and establishing hierarchies of quality, which help audiences understand and value the category. The study, thus, adds nuance to our understanding of markets and categories.

This study aims to provide a historical understanding of conspicuous consumption phenomena in the context of the UK, between 1945 and 2000. It considers how status-driven consumption has been shaped by economic, technological and cultural factors.

Adopting a periodization scheme, concerning two time structures between 1945 and 2000, this paper is based on research stemming from a wide range of data such as academic studies, research articles, narrative history books, past advertisements, novels and biographies. Rich interdisciplinary data from the realms of political economy, sociology, cultural geography and consumption studies have been synthesized so as to provide a marketing-oriented historical outlook on conspicuous consumption phenomena.

Status-driven consumption in the UK has been heavily influenced by economic policies, cultural changes and public perceptions towards wealth during the second half of the twentieth century. Post-war rationing, youth-driven fashion, free-market economics and technological advances have played a crucial role in forming consumers’ tastes and engagement with ostentatious economic display.

Although the vast majority of marketing studies have approached luxury consumption through a psychological angle, this examination identifies the capacity of historical research to uncover and highlight the interrelationships between socio-economic factors and status-motivated consumption.

The purpose of this paper is to explore the application of a hermeneutic-based approach as innovative way to study the Cultural Heritage management in a mesoeconomic space.

The paper builds a theoretical framework based on the analysis of relevant literature in the field of cultural economics, heritage economics and conservation and restoration techniques. Then, after having defined the conceptual hypothesis, a hermeneutical interpretative model is designed for the analysis of the processes of Cultural Heritage management with particular regard to the strategies of stakeholder engagement.

The research shows how the mesoeconomic space is that border area where it is possible to solve more easily the conflicts that arise as a result of the different expectations of stakeholders. Hermeneutical analysis, applied in iterative form, allows us to find common connections, points of contact and convergences between the interpretative horizons of the various stakeholders.

The application of the interpretative model allows the identification of the expectations of stakeholders, improving the knowledge of the tangible and intangible attributes of works of art, in order to design appropriate interventions of restoration, conservation and valorization.

The new model of analysis, based on hermeneutic methodology, is designed to understand and describe the social and economic relations between the different stakeholders involved in the management of Cultural Heritage.

This paper examines for the first time the Cultural Heritage sector within the mesoeconomic area between the micro and the macroeconomy. In addition to this mesoeconomic analysis and conceptual approach, the authors introduce as methodology the economic hermeneutics that represents an innovative tool in the field of economic and business disciplines.

The overall aim of this chapter is to investigate whether the notion of cultural value can have utility as a context for urban and regional development strategies. It does this by proposing a conceptualisation of ‘cultural assets’ that encompasses both tangible and intangible resources, as well as resources existing and yet to be created. The purpose of the conceptualisation is to establish a framework within which we can better understand how cultural value might be activated or generated in urban and regional areas and so become a context for developmental strategies. Importantly, this paper also sets out to provide further insight into the notion of cultural value itself, particularly in relation to matters of definition, and the notion's utility in other areas of theory and practice.

This essay examines a common assertion among middle-class shoppers in Ho Chi Minh City, Vietnam, that place of manufacture, rather than brand markers, largely determines the quality of goods. For shoppers in Ho Chi Minh City, unity of place, people, raw materials, and trade secrets at the source – a corporation’s home country – is essential to the production of high quality goods. This stands in contrast to the brand logic through which corporations outsource their production presumably without compromising product quality. By privileging production sites over brands, shoppers in Ho Chi Minh City interpret the recent increase of famous foreign brand name goods in Vietnam as an increase of domestic, rather than foreign goods.

The purpose of this paper is to develop a conceptual framework to describe possible key features in the relationship between culture and place branding. The inspiration to redact this paper was drawn from the inadequacy of literature and attempts to introduce the theoretical framework linking these two fields by asking: how do we define culture within the context of place branding? How do decision makers distinguish whether culture should be at the forefront of a place branding strategy? On one hand, the paper points out the powerful advantages while using art(s) and culture‐based activities to promote a place. On the other hand, the paper highlights the layered dilemmas for practitioners concerning the amalgamation of such a practice on a branding campaign.

Those questions' clarification is achieved by means of a literature review that examines this relationship from a wide range of disciplines: sociology, marketing, place branding, cultural management, urban studies, etc.

The paper's findings can be summarized in three points: first, culture plays a critical role on a place branding campaign, as long as the authentic cultural elements are produced by the residents. This practice helps to avoid the mass reproduction of “borrowed” cultural elements, i.e. the investment in cultural and leisure consumption industries. Second, the cultural field has already deployed practices used by local authorities in urban regeneration, such as cultural planning. Thus, converged objectives link cultural managers to place branding experts, refining multi‐dimensional policy thinking towards a more integrated image. Finally, the cultural aspect is related with the pre‐existing reputation of a place. Further, it is connected with the minds of people, fostering the contentions of common essence between culture and branding.

This paper intends to contribute and enhance inter‐professional thinking, by approaching the cultural sector with the appropriate sensitivity.

The paper provides deeper understanding of culture, bordering the gap between technocrats and cultural‐oriented professionals by contributing to the creation of a coherent communication system for the study of place branding theory. The cultural dimension of a place is very spacious and further research needs to be made, approaching the subject from new perspectives, such as people's perception of the brand while using art(s) as a branding tool.

The cultural heritage of a nation is an important part of its identity. Its works of art, its records and archives and its archaeological remains contribute to its past and its present. Many nations are legitimately concerned to retain this cultural legacy, even where the objects are being sold to recognised galleries or museums in other countries. The export ban imposed by the British Government on the ‘Three Graces’ was a prominent example of the importance attached to certain works of art.