OOIR: Observatory of International Research

Papers

(The TQCC of Cultural Trends is 3. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-05-01 to 2026-05-01.)

Article	Citations
Kenneth Kwok (Ministry of National Development, Singapore): in conversation	25
Street art as a paradox: urban regeneration and tourist attraction in Porto	14
Hustling in the projectariat? Financialisation and precarious creative industries	14
In the labyrinth of culture. Professional development paths for public cultural organizations’ workers	14
Gender and cultural heritage valuation: the case of flamenco in Spain	13
Co-op mode: the emancipatory potential of freelancer co-operatives in the UK videogames industry following the COVID-19 pandemic	13
Whose lens? Gender behind the camera in Pacific filmmaking	13
Trading on art: Cultural diplomacy and free trade in North America	10
Artists’ hidden heart on labor income and working hours in South Korea	10
Model of cultural policy and the governance and management of cultural institutions: comparative analysis of three European opera houses	9
Peripheral or not? Cinema of small countries in the programming of international film festivals	9
Basic income, post-precarious outcome? How creative workers perceive participating in an experiment with basic income	9
Welcome to the inner circle? Earnings and inequality in the creative industries	8
Navigating creative partnerships and cross-cultural collaboration: a case study between China and the UK	8
“Squeezing money out of a rock”: diverse economies of contemporary theatre in Ghana	7
Museum educators’ views on digital museum education: opportunities and challenges	7
The impact of COVID-19 on the cultural and creative industries: determinants of vulnerability and estimated recovery times	7
Missed opportunities? An analysis of Italy’s policy response to COVID-19 in cinema and the performing arts ¹	7
Artrepreneurs and the autonomy paradox	7
Chasing happiness? The meaning of wellbeing-oriented cultural heritage interventions in museums and cultural heritage institutions	7
Practice and policies of classical music in Chile and the challenges of cultural democracy: the case of FOJI	6
Negotiating hybridity, inequality, and hyper-visibility: museums and galleries’ social media response to the COVID-19 pandemic	6
Operationalising cultural democracy – the experience from a transitional society	6
Precarious labour and unpaid work: the processes that fragment cultural democracy	6
#WeAreViable, aren’t we? Music careers, state support, and the political feasibility of a Basic Income for the Arts	6

Do give up your day job: basic income for artists, and other stories	6
Who cares for creative and cultural workers? The role of intermediaries in Europe’s creative economy	5
Negotiating participation: investigation of an informal art and urban development initiative in Norway	5
Towards a paradigm for online heritage: cyber communities and digital educommunication	5
Gross domestic product of cultural and creative industries from an income perspective: the Brazilian case	5
The four worlds of creative employees: the role of education level and job-education match	5
Heritage conservation and the limitation of public-private partnerships	5
Creative men, organised women: labour narratives, gender stereotypes and precarity among film festival women professionals	5
Performing the self in contemporary rural China: voice from a villager	5
Addressing causality: participatory evaluation on improvisational drama workshops for people with dementia and their carers	5
Culture is not an industry: reclaiming art and culture for the common good	5
The benefits and attractiveness of local theatres. Comedy or Shakespeare – does it matter?	5
People or place? Towards a system of holistic locational values for creative workers	4
The return of the prodigal B-boy: from marginalised subculture to protected Korean cultural institution	4
Cultivating progressive development in the cultural industries: challenges and support needs identified by the creative workforce in the United Kingdom	4
Cultural branding of cities: the role of live music in building a city’s brand	4
Cultural value as meaning-making	4
Clubs to institutions: culture-led nightlife policies in Amsterdam and Berlin	4
Capturing value: researching funded art for reconciliation	4
Conceptualizing Malaysian creative hubs: traversing normalcy to pandemicity and beyond	4
Private art collectors on motivations to donate, deposit, or lend out artworks in Norway	4
Making genre: the aesthetic affordances of governmental funding and its effects on emerging interdisciplinary artists in the Netherlands	3
The DCMS Committee’s inquiry on the economics of music streaming and its implications for artists	3
“Feeling things happen”: Evaluating the Playhouse Theatre and Peace-building Academy (2018–2020)	3
Beyond model workers: emerging labour bio-politics for decent work in Taiwanese screen industries	3
On the role of “tactile value” in cultural consumption: an empirical research in the live music industry	3
Correction	3
The social organization of arts, a theoretical compendium	3
Queer workers, diversity data and the UK television industry: is more data always better?	3
Fashion as Creative Economy	3
Understanding the factors that affected the resilience of performing arts workers during the COVID-19 pandemic	3
Explaining unwelcoming attitudes toward LGBTQI+ festivals in Sibiu and their implications for regional cultural change	3