Identification of Export Opportunities: A Shift-share Approach

1985 ◽  
Vol 49 (1) ◽  
pp. 83-88 ◽  
Author(s):  
Robert T. Green ◽  
Arthur W. Allaway

The search for new export markets is a high priority for firms in the 1980s. This article considers a technique that could be useful in screening markets and products for possible export opportunities. The technique is called shift-share analysis and has been heretofore employed primarily in regional analysis studies. We demonstrate the manner in which shift-share analysis can aid in the generation of product/market sets having high export potential.

2021 ◽  
Vol 71 (3) ◽  
pp. 216-223
Author(s):  
William Luppold ◽  
Matthew Bumgardner

Abstract In 1990, Europe, North America, and the Asian democracies of Japan, Taiwan, and South Korea (JTK) were the major export markets for U.S. hardwood lumber and oak species accounted for 59 percent of total exports. In the 1990s, shipments to Europe and North America increased, while shipments to JTK declined. During the early 2000s, exports to China and Vietnam (CHV) increased. The worldwide recession of 2009 caused exports to decline in all regions, and oak species accounted for 37 percent of total shipments that year. Since 2010, CHV has become the most important export market for all species except maple. In 2020, oak species accounted for 43 percent of total export volume, and walnut ranked third in value of shipments. An examination of imputed prices found that exports tend to be composed of mid- to higher-quality hardwood lumber. Since 1997, real prices of exported lumber have declined for most species, and this decline occurred concurrently with increased U.S. sawtimber volume. In the 1990s, increased exports expanded the market for domestically produced hardwood lumber. Since the early 2000s, increased lumber exports have partially countered reduced domestic demand and have acted as a hedge against greater declines in overall demand for U.S. hardwood lumber.


Author(s):  
J. Ure

The region contains half the area of exotic forest in New Zealand and the major industries dependent thereon. Both are expanding rapidly to meet promising export markets. Local conditions are particularly favourable for this form of primary production and continued expansion is expected.


2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.


2018 ◽  
Vol 3 (2) ◽  
Author(s):  
H.L Ahmad Murdani

Ketak handicraft is one of any other superior handicraft in Lombok Tengah Regency, as one of any other revenue generator for Lombok Tengah regency and to increase the prosperity of people in this industry, it is needed to find out the ways and strategies to improve the performance of this business. This research was categorized as a descriptive research which used case method approach, it was aimed to find out the position of ketak handicraft among handicraft industry in Lombok Tengah based on recent performance and to identify alternative strategies which can be chosen in order to improve the performance of this industry. In order to find out the position of ketak handicraft business, it was used BCG Agam analysis and based on this position the strategy for improving this business was selected based on this analysis, the position of third business was in the stars position, where alternative strategies that can be chosen were: (a) development of the existing product (market expansion for the existing product); (b) diversification; (c) horizontal merger. Suggestion recommended was to apply one of these strategies based on analysis that had been conducted.


2018 ◽  
Author(s):  
Melanie Kershaw ◽  
Marie Atkins ◽  
Suzanne Digwood ◽  
Hilary McCoubrey ◽  
Marie McGee ◽  
...  

Author(s):  
Olena Zayats ◽  

The article examines the competitive status and competitive positions of Ukraine. It proves that in the current context the competitive status of the national economy is determined by the presence of a strong global competitive force that provides dynamic growth based on innovation potential, developed institutions, infrastructure, ICT adoption, macroeconomic stability, health, skills, product market, labor market, financial system, market size, business dynamism rather than by traditional factors (natural resources, geopolitical situation). It has been identified that a wide range of factors in global competitive force establishment suggests the complexity of its assessment. It has been noted that in world economic practice the Global Competitiveness Index of the World Economic Forum is predominantly used to assess the competitive status of the national economy. It has been determined that according to this index, in the overall ranking among 141 countries in 2019, Ukraine ranked 85th (2009-2010 – 82/133; 2018 – 83/140). The article analyzes of the competitive status of Ukraine in the international arena in terms of twelve pillars of the studied index and in the context of components of the said pillars. The dynamics of Ukraine's global competitive force in recent years shows that there has not been any build up. However, if one analyzes it in terms of the criteria of the global competitive force of the domestic economy, their assessment is volatile: the main regression can be traced in the sphere of the financial system, where Ukraine dropped by 19 positions in one year (2018 – 117/140, 2019 – 136/141), and the greatest progress is observed in the product market, where Ukraine rose by 16 positions in one year (2018 – 73/140, 2019 – 57/141). Analysis of the components of Ukraine’s global competitive force criteria shows that the worst positions in terms of such components are as follows: non-performing loans (% of gross total loans) – 139/141 and soundness of banks – 131/141. The best positions are in terms of the following components: costs of starting a business – 14/141 and attitude towards entrepreneurial risk – 18/141.


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