From business events such as content trade fairs, we can learn about the institutional logics of contemporary cultural industries. In our ethnographic fieldwork at six different trade fairs in three industries (book, music and TV), we identified five ways of legitimating the commercial production and distribution of cultural goods: cultural industries are represented as an idealized form of business, as art for art's sake, as innovation and technology, as entertainment and as a public sphere. Our findings both confirm and contradict Bourdieu's theory of cultural production fields. In accordance with Bourdieu's description of the field as a reversed economic world, we observed an industry which struggles to disguise ordinary economic transactions, such as negotiating deals, ordering services or making contracts. In contrast to Bourdieu, we do not find a strong homology between a position in the field and its symbolic representation. Rather, we observed that small enterprises from the restricted field of cultural production as well as large-scale producers and distributors of cultural goods use the same narratives to legitimate their practices. Borrowing from recent advancements in organizational institutionalism, we interpret the symbolic representations at trade fairs as a cultural toolkit from which people in the industry strategically choose in order to pursue their interests.

从内容交易会等商业活动中，我们可以了解到当代文化产业的制度逻辑。在我们对三个行业（书籍、音乐和电视）的六个不同交易会的民族志实地考察中，我们确定了使文化产品的商业生产和分销合法化的五种方式：文化产业被表示为一种理想化的商业形式，作为艺术的艺术清酒，作为创新和技术，作为娱乐和公共领域。我们的研究结果既证实了布迪厄的文化生产场论，也反驳了它。根据 Bourdieu 将该领域描述为一个颠倒的经济世界，我们观察到一个努力掩饰普通经济交易的行业，例如谈判交易、订购服务或签订合同。与布迪厄相比，我们没有发现该领域中的位置与其符号表示之间存在很强的同源性。相反，我们观察到来自受限文化生产领域的小企业以及文化产品的大型生产商和分销商使用相同的叙述来合法化他们的实践。借鉴组织制度主义的最新进展，我们将贸易展览会上的象征性表示解释为一种文化工具，行业中的人们为了追求自己的利益而战略性地从中选择。我们观察到，来自受限文化生产领域的小企业以及文化产品的大型生产商和分销商使用相同的叙述来合法化他们的做法。借鉴组织制度主义的最新进展，我们将贸易展览会上的象征性表示解释为一种文化工具，行业中的人们为了追求自己的利益而战略性地从中选择。我们观察到，来自受限文化生产领域的小企业以及文化产品的大型生产商和分销商使用相同的叙述来合法化他们的做法。借鉴组织制度主义的最新进展，我们将贸易展览会上的象征性表示解释为一种文化工具，行业中的人们为了追求自己的利益而战略性地从中选择。