Bronwyn Coate
As seen in:
The Guardian,
Yahoo News Australia,
Elsevier,
SAGE Publishing,
The Conversation,
Phys.org,
Scroll.in,
Mumbrella,
SmartCompany (Australia),
CapX
and
Is this you? As a journalist, you can create a free Muck Rack account to customize your profile, list your contact preferences, and upload a portfolio of your best work.
Claim your profile
Articles by Bronwyn Coate
November 2025, no. 481
In this special issue of Australian Book Review, we look at the future of the book in Australia. What do the rise in audiobooks, Silent Reading Clubs, and Gen Z’s preference for physical books tell us about where we are heading? To support the book industry now, Alice Grundy champions a new book bounty; and Julienne van Loon, Bronwyn Coate, and Millicent Weber argue that we must learn to quantify the cultural value of a locally produced book.
How to value a book
How might we measure the value of a locally produced book? Or, in a more collective sense, how might we put a value on a local books and literary sector, one that is distinct from the larger English-language markets of the Northern Hemisphere and attentive to our own regional and cultural ways of being, doing, and belonging? What does value mean in the context of the local book? And on whose terms might it be expressed?
What is the value of Meanjin? We’ve done some calcuations - and it’s not about money
This month, the board of Melbourne University Press (MUP) announced it would abruptly discontinue 85-year-old Australian literary journal Meanjin. The reasons? “Purely financial.” Our research considers the value of local books and writing, using measures other than money. Drawing on recent arts and cultural value scholarship, we’ve taken a closer look at publicly available data on Meanjin.
What’s wrong with elite Australian opera?
. You are free to republish the text and graphics contained in this article online and in print, on the condition that you follow our republishing guidelines. You must attribute the author and note prominently that the article was originally published by InReview. You must also inlude a link to InReview. Please note that images are not generally included in this creative commons licence as in most cases we are not the copyright owner.
95% male conductors, 70% ageing classics and zero appetite for risk: what’s wrong with elite Australian opera
The stories told on the operatic stage have received critical attention for their representation of gender, particularly the often violent fate of their heroines. But little attention has been paid to women’s representation behind the scenes in Australia. In part, this is due to a lack of readily available data about women’s actual status within opera companies. We have now created a unique dataset to address this gap.
Film camera departments operate on a system of who you know, so what happens when you're not a member of the in-group?
Concerns about power imbalances and toxic working environments in the film and TV industries long pre-date the emergence of #metoo as a global rallying cry against sexual assault and harassment on set. Well-intentioned policymakers have made many attempts to intervene over the past 50 years or so, focusing primarily on addressing gender imbalances using a “just add women and stir” approach.
Film camera departments operate on a system of who you know, so what happens when you're not a member of the in-group? Original
Concerns about power imbalances and toxic working environments in the film and TV industries long pre-date the emergence of #metoo as a global rallying cry against sexual assault and harassment on set. Well-intentioned policymakers have made many attempts to intervene over the past 50 years or so, focusing primarily on addressing gender imbalances using a “just add women and stir” approach.
By a long shot: Power, devaluation and discrimination in a toxic cultural workforce
4.2. Variables We now turn to the variables of interest that will help shed light on understanding the characteristics that predict group membership. Recall from Section 3.2 that our 12 quantitative variables are grouped into three clusters. The first cluster of variables relates to respondents’ experience of various forms of discrimination.
Dark Emu has sold over 250,000 copies – but its value can't be measured in money alone
Bruce Pascoe’s Dark Emu, first published in 2014, represents that rare bird in small press and independent publishing in Australia: a long-term sales success. Dark Emu attempts to debunk the idea that pre-European Aboriginal people were purely “hunter-gatherers”. Indeed, it suited settler-colonists, Pascoe argues, to fail to recognise Indigenous agricultural practices as organised, intelligent land management.
Male artists dominate galleries. Is it because 'women don't paint very well,' or just discrimination? Original
In the art world, there is a gaping gender imbalance when it comes to male and female artists. In the National Gallery of Australia, only 25% of the Australian art collection is work by women. This is far better than the international standard where roughly 90% of all artworks exhibited in major collections are by men. The most expensive painting by a female artist—Georgia O'Keeffe's Jimson Weed/White Flower No. 1—does not even rank among the ever sold.
Male artists dominate galleries. Our research explored if it’s because ‘women don’t paint very well’ - or just discrimination
In the art world, there is a gaping gender imbalance when it comes to male and female artists. In the National Gallery of Australia, only 25% of the Australian art collection is work by women. This is far better than the international standard where roughly 90% of all artworks exhibited in major collections are by men. The most expensive painting by a female artist – Georgia O’Keeffe’s Jimson Weed/White Flower No. 1 – does not even rank among the ever sold.
The economic psychology of creating and venturing: a comparative behavioural portrait of artists and entrepreneurs
Abstract There are anecdotal parallels between the productive activities, labour market conditions and policy importance of professional artists and entrepreneurs that suggest human capital similarities between them. We examine the psychological and behavioural characteristics associated with the pursuits of artistry and entrepreneurship.
Re-Distributing Gender in the Global Film Industry: Beyond #MeToo and #MeThree
Abstract This article draws on a big cultural dataset of over 130 million global screen times to consider the impact that the gender of a film’s director has on the screening prevalence and geographic spread of new release feature films at the cinema. We compare results based on film screenings between December 2012 and May 2015 across a set of forty countries including the United States, France, Germany, Australia, Japan, India, and Brazil.
Would you buy a theatre ticket for someone who can't afford it? Now you can
A new ticketing system that allows people to buy tickets for others who may not be able to afford them is gaining traction in the performing arts industry. NOTAFLOF (an ungainly acronym which stands for “no one turned away for lack of funds”) is an option that many are including in their ticketing process, such as the forthcoming Arts Centre Melbourne production of The Cocoa Butter Club. The NOTAFLOF system has been used at both queer cinema and trans theatre in San Francisco.
The Economics of Ridiculously Expensive Art - SciTech Connect
What would possess someone to buy Leonardo da Vinci’s Salvator Mundifor US$450 million? You might think it’s an investment – after all it was previously sold for just US$10,000 in 2005. From an economic point of view, art can be an investment. Although the research shows art investing has mixed results. Art also has what economists refer to as “psychic benefits”. It is something to be enjoyed, experienced or flaunted, and this may be the key to the high price paid for Salvator Mundi.
Why is some art so ridiculously expensive and what drives people to buy it (despite low returns)?
What would possess someone to buy Leonardo da Vinci’s Salvator Mundi for $450 million? You might think it’s an investment - after all it was previously sold for just $10,000 in 2005. From an economic point of view, art can be an investment. Although the research shows art investing has mixed results. Art also has what economists refer to as “psychic benefits”. It is something to be enjoyed, experienced or flaunted, and this may be the key to the high price paid for Salvator Mundi.
The Economics of Ridiculously Expensive Art - Greater Diversity News
What would possess someone to buy Leonardo da Vinci’s Salvator Mundi for US$450 million? You might think it’s an investment – after all it was previously sold for just US$10,000 in 2005. From an economic point of view, art can be an investment. Although the research shows art investing has mixed results. Art also has what economists refer to as “psychic benefits”. It is something to be enjoyed, experienced or flaunted, and this may be the key to the high price paid for Salvator Mundi.
The economics of ridiculously expensive art
What would possess someone to buy Leonardo da Vinci’s Salvator Mundi for US$450 million? You might think it’s an investment - after all it was previously sold for just US$10,000 in 2005. From an economic point of view, art can be an investment. Although the research shows art investing has mixed results. Art also has what economists refer to as “psychic benefits”. It is something to be enjoyed, experienced or flaunted, and this may be the key to the high price paid for Salvator Mundi.
How new apps could change cinema ticket prices
. You are free to republish the text and graphics contained in this article online and in print, on the condition that you follow our republishing guidelines. You must attribute the author and note prominently that the article was originally published by InReview. You must also inlude a link to InReview. Please note that images are not generally included in this creative commons licence as in most cases we are not the copyright owner.
Coming soon to a cinema near you? Ticket prices shaped by demand - Mumbrella
With TV broadcasters changing their business models to meet evolving consumer viewing habits, media lecturers Deb Verhoeven and Bronwyn Coate look at what cinemas are doing to adapt and remain financially relevant. Chances are that if you see just one film this year, you probably saw it already; the period between Christmas and Australia Day is typically the busiest and most competitive in our film calendar.
How demand-based ticket pricing is set to change the way people go to the cinema - SmartCompany
Chances are that if you see just one film this year, you probably saw it already. The period between Christmas and Australia Day is typically the busiest and most competitive in our film calendar. But even when you arrive at a ticket counter at a quieter time of year you will usually pay the same price to see a film irrespective of its popularity, quality or budget size. Imagine if you could instead pay less to see films that are not in high demand?
Coming soon to a cinema near you? Ticket prices shaped by demand
Chances are that if you see just one film this year, you probably saw it already. The period between Christmas and Australia Day is typically the busiest and most competitive in our film calendar. But even when you arrive at a ticket counter at a quieter time of year you will usually pay the same price to see a film irrespective of its popularity, quality or budget size. Imagine if you could instead pay less to see films that are not in high demand?
Show More
loading
Actions
Is this you?
As a journalist, you can create a free Muck Rack account to customize your profile, list your contact preferences, and upload a portfolio of your best work.Get in touch with Bronwyn
Contact Bronwyn, search articles and posts on X, monitor coverage, and track replies from one place.
Learn more about Muck Rack