Lectures Cultural Industries
Lecture 1 Introduction: Analyzing the
creative & cultural industries (CCI)
Important for the exam: Conceptual understanding
* Not details of the reading, but the concepts behind the readings
Quiz questions are 10% of the final grade starting from week 2
Each presentation is 20% of the final grade (40% in total)
Individual exam is 50% of the final grade
Symvol.ai can create knowledge clips for the articles
Today’s program
Course literature & lectures
Practical information
For the presentation: organizational level is mostly better than individual
Assesment and testing
Weekly team oral presentation (40%)
Individual final exam (50%)
* 6 multiple choice questions (25%) and 2 open questions (25%)
* Need an 5.5 to pass the course!!!
Question 1 (reading 1)
(b) I is true; II is untrue
Because culture goods are symbolic in nature, these become very subjective.
The more symbolic in nature, the more subjective
Question 2 (reading 2)
(a) I is untrue; II is true
Question 3 (reading 3)
(d) I is true; II is true
For potential customers you have to make some changes, so also changes in the business
model
First article: Modeling the cultural industries
Questions and definitions
What is a cultural good?
, What is a creative good?
Requires some human creativity, has to be some intellectual property involved, it
should have some symbolic messages.
What are the cultural industries? What are the core characteristics?
What are the creative industries? What are the core characteristics?
Is making a distinction between the cultural and creative industries important? Why
or why not?
Cultural goods and services characteristics
Lecture 2 Organizational design
Think about how to organize the production of cultural goods. What do you think are some
core variables at play?
Intellectual property
Consistent product
Demand patterns that are highly unpredictable
Production processes are difficult to monitor and control
Reconcile artistic production with marketeers
Article Balancing act: Learning form organizing practices in cultural industries (Lampel, Lant
and Shamsie, 2000)
The article in a nutshell: This paper discusses five ambiguities or tensions that managers in
the cultural industries must navigate. They all revolve around the question: What
organizational form is best suited to production in the CI?
1. Artistic versus entertainment value
* Should the intrinsic value of art drive decision making or should decisions be driven
by the economic value of mass production?
, 2. Product differentiation versus market innovation
* Should artistic products focus on novelty or familiarity?
3. Demand analysis versus market construction
* Is the consumption of art driven by consumer tastes or are consumer tastes driven
by the artist?
4. Vertical integration versus flexible specialization
* Which system of production favors creativity: large in-house production and
distribution or a flexible network of small producers?
* How to organize the organization chart?
5. Individual inspiration versus creative systems
* Is creativity an individual or collective product?
Final remarks
Final tensions, but many unique ways in which they are balanced
What tensions are the most important in a given setting/for your case? Why?
How are these tensions balanced and why?
* What are the implications of these tensions for how production, marketing,
distribution, etc. are organized?
, Article Capabilities in Motion: New Organizational Form and the Reshaping of the
Hollywood Movie Industry (Lampel and Shamsie, 2003)
Article in a nutshell: This paper investigates how capabilities in the Hollywood movie
industry have developed in response to the transition from a studio era dominated by
integrated hierarchies to a post-studio era dominated by flexible hub organizations.
The resource-based view of the firm
Resources
Inputs for achieving superior performance
Tangible (e.g., money, physical venues) and intangible (e.g., reputation, knowledge)
Firms may fail to acquire the best resources (e.g., not hire the best job candidate),
may lose resources (e.g., reputation loss) or use them sub-optimally (e.g., inefficient
production)
Firms resources need to be upgraded and renewed over time
Capabilities
“Processes that integrate, reconfigure, gain and release resources in response to market
conditions” (p. 2191)
Routines and practices used to effectively manage resources
“Barney argued that sustained competitive advantage derives from the resources and
capabilities a firm controls that are valuable, rare, imperfectly imitable and not substitutable”
(Barney et al., 2001: p. 625)
Research questions
Do firm capabilities drive movie performance?
Are firm capabilities related to organizational form?
* Organizational forms facilitate the use and development of specific capabilitues
* (Co-)evolution of forms and capabilities
Research setting
Hollywood movie industry
“studio” era (1941-1948)
“post-studio” era (1981-1988)
Mobilizing capabilities
“Routined needed to identify and commit resources” (p. 2191)
Useful for allocating (i.e., “mobilizing) the best resources to a specific project
Example: pre-production phase
Resource bundle: actors, directors, writers
Problem: search and selection
Lecture 1 Introduction: Analyzing the
creative & cultural industries (CCI)
Important for the exam: Conceptual understanding
* Not details of the reading, but the concepts behind the readings
Quiz questions are 10% of the final grade starting from week 2
Each presentation is 20% of the final grade (40% in total)
Individual exam is 50% of the final grade
Symvol.ai can create knowledge clips for the articles
Today’s program
Course literature & lectures
Practical information
For the presentation: organizational level is mostly better than individual
Assesment and testing
Weekly team oral presentation (40%)
Individual final exam (50%)
* 6 multiple choice questions (25%) and 2 open questions (25%)
* Need an 5.5 to pass the course!!!
Question 1 (reading 1)
(b) I is true; II is untrue
Because culture goods are symbolic in nature, these become very subjective.
The more symbolic in nature, the more subjective
Question 2 (reading 2)
(a) I is untrue; II is true
Question 3 (reading 3)
(d) I is true; II is true
For potential customers you have to make some changes, so also changes in the business
model
First article: Modeling the cultural industries
Questions and definitions
What is a cultural good?
, What is a creative good?
Requires some human creativity, has to be some intellectual property involved, it
should have some symbolic messages.
What are the cultural industries? What are the core characteristics?
What are the creative industries? What are the core characteristics?
Is making a distinction between the cultural and creative industries important? Why
or why not?
Cultural goods and services characteristics
Lecture 2 Organizational design
Think about how to organize the production of cultural goods. What do you think are some
core variables at play?
Intellectual property
Consistent product
Demand patterns that are highly unpredictable
Production processes are difficult to monitor and control
Reconcile artistic production with marketeers
Article Balancing act: Learning form organizing practices in cultural industries (Lampel, Lant
and Shamsie, 2000)
The article in a nutshell: This paper discusses five ambiguities or tensions that managers in
the cultural industries must navigate. They all revolve around the question: What
organizational form is best suited to production in the CI?
1. Artistic versus entertainment value
* Should the intrinsic value of art drive decision making or should decisions be driven
by the economic value of mass production?
, 2. Product differentiation versus market innovation
* Should artistic products focus on novelty or familiarity?
3. Demand analysis versus market construction
* Is the consumption of art driven by consumer tastes or are consumer tastes driven
by the artist?
4. Vertical integration versus flexible specialization
* Which system of production favors creativity: large in-house production and
distribution or a flexible network of small producers?
* How to organize the organization chart?
5. Individual inspiration versus creative systems
* Is creativity an individual or collective product?
Final remarks
Final tensions, but many unique ways in which they are balanced
What tensions are the most important in a given setting/for your case? Why?
How are these tensions balanced and why?
* What are the implications of these tensions for how production, marketing,
distribution, etc. are organized?
, Article Capabilities in Motion: New Organizational Form and the Reshaping of the
Hollywood Movie Industry (Lampel and Shamsie, 2003)
Article in a nutshell: This paper investigates how capabilities in the Hollywood movie
industry have developed in response to the transition from a studio era dominated by
integrated hierarchies to a post-studio era dominated by flexible hub organizations.
The resource-based view of the firm
Resources
Inputs for achieving superior performance
Tangible (e.g., money, physical venues) and intangible (e.g., reputation, knowledge)
Firms may fail to acquire the best resources (e.g., not hire the best job candidate),
may lose resources (e.g., reputation loss) or use them sub-optimally (e.g., inefficient
production)
Firms resources need to be upgraded and renewed over time
Capabilities
“Processes that integrate, reconfigure, gain and release resources in response to market
conditions” (p. 2191)
Routines and practices used to effectively manage resources
“Barney argued that sustained competitive advantage derives from the resources and
capabilities a firm controls that are valuable, rare, imperfectly imitable and not substitutable”
(Barney et al., 2001: p. 625)
Research questions
Do firm capabilities drive movie performance?
Are firm capabilities related to organizational form?
* Organizational forms facilitate the use and development of specific capabilitues
* (Co-)evolution of forms and capabilities
Research setting
Hollywood movie industry
“studio” era (1941-1948)
“post-studio” era (1981-1988)
Mobilizing capabilities
“Routined needed to identify and commit resources” (p. 2191)
Useful for allocating (i.e., “mobilizing) the best resources to a specific project
Example: pre-production phase
Resource bundle: actors, directors, writers
Problem: search and selection
