documentary and other types of film,TV history series and cultural shows).
The most important competitors are seen to be other cultural institutions and stock
agencies or brokers (e.g. Corbis, ImageBank, Comstock); substitutes available in the public
domain are also to be taken into account.
With the publishing and broadcast industries being the most content-driven, the CHIN-
study consequently found that they are also the most likely to have a need for cultural
heritage intellectual property, while the small multimedia companies (i.e. CD-ROM and
web site developers and producers) showed little interest.
Factors that support or constrain market entry and development
Where the intrinsic, authentic nature of cultural heritage sources is not generally
perceived as valuable, there is a considerable barrier for market entry and development.The
industries that value authenticity the most are broadcasters and publishers, as well as those
who value expert knowledge related to the relevant material.
If one adds to this, that the expected turnaround time for material to be delivered to
broadcasters and publishers is (relatively) moderate, it all boils down to the result that these
are the key target industries for cultural heritage resources.
One barrier might be that these industries are more cost sensitive than the advertising
and corporate sector, but as interviewees in the study frequently mentioned:"When you
need the real thing, you need it" (signalling a possible trade-off between willingness to
spend and authenticity of material).
I2B-markets: How fit are cultural heritage institutions?
A SWOT analysis can be helpful in assessing the "fitness" and perspectives of cultural
heritage institutions in the I2B-market. In providing a SWOT analysis, one needs to take
Need for cultural
authenticity / CH
Importance of CH
from request to
around time around time
(often 24 h
(often 24 h
Source: cf. CHIN, 1999: p. 25