1
Cultural Industries
6013B0502Y
Complete Summary
The summary contains:
Summary of entire literature and incorporated notes from the lectures
, 2
Table of Contents
Week 1: Analyzing the creative and cultural industries ...................................................... 3
Modelling the cultural industries (Throsby, 2008) .......................................................................3
An individual business model in the making: A chef’s quest for creative freedom (Svejenova,
Planellas and Vives, 2010) ......................................................................................................... 11
Surviving in times of turmoil: Adaptation of Theatre Les Deux Mondes business model (Poisson-
de Haro & Montpetit, 2012) ...................................................................................................... 13
Week 2 ............................................................................................................................ 16
Organizational design ...................................................................................................... 16
Balancing Act: learning from organizing practices in cultural industries (Lampel, Lant and
Shamsie (2000)) ........................................................................................................................ 17
Capabilities in Motion: New Organizational Forms and the Reshaping of the Hollywood Movie
Industry (Lamped and Shamsie, 2003) ...................................................................................... 18
Beyond networks and hierarchies: Latent organizations in UK television industry (Starkey,
Barnatt and Tempest, 2000)...................................................................................................... 21
Networks and social capital in the UK TV industry: The weakness of weak tires (Antcliff,
Saundry, and Stuart, 2007)........................................................................................................ 26
Week 3: Differences between single and complex identities. ............................................ 29
Robust identities or nonidentities? Typecasting in the feature film labor market. (Zuckerman,
Kim, Ukanwa and Von Rittmann, 2003)..................................................................................... 29
Understanding the bond of identification: investigating its correlates among art museum
members (Bhattacharya, Rao and Glynn, 1995) ........................................................................ 35
Strategic orientation and firm performance in an artistic environment (Voss and Voss, 2000) .. 38
Third-party signals and sales to expert-agent buyers: quality indicators in the contemporary
visual arts market. (Kackovic et al., 2020) ................................................................................. 41
Week 5: CCI and Technological Change ............................................................................ 44
When market information constitutes fields: sensemaking of markets in the commercial music
industry (Anand and Peterson, 2000) ........................................................................................ 48
Should you invest in the Long Tail? (Elberse, 2008) ................................................................... 53
Web-based experiments for the study of collective social dynamics in cultural markets (Salganik
and Watts, 2009) ...................................................................................................................... 56
Week 6 ............................................................................................................................ 61
Avoiding ‘Star Wars’- Celebrity Creation as Media Strategy (Frank and Nuesch, 2007) .............. 61
Why some Awards are more Effective Signals of Quality than Others: A study of Movie Awards
(Gemser, Leenders and Wijnberg, 2008) ................................................................................... 63
Coping with uncertainty, abundance and strife: Decision- making processes of Dutch acquisition
editors in the global market for translations ............................................................................. 66
Franssen and Kuipers (2013) ..................................................................................................... 66
, 3
Week 1: Analyzing the creative and cultural industries
Modelling the cultural industries (Throsby, 2008)
The article discusses the definition of cultural industries, the boundaries of cultural industries,
and examines six tools for economic analysis that can be applied to cultural industries.
The core question posed in the article:
Is it possible to find a common group of industries on which all of the models agree?
Understanding of why and how a cultural product is valued by a particular stakeholder (could
be an expert, another cultural producer, or even a consumer).
The author is paying explicit attention to different definitions of cultural and creative
industries.
He is paying attention to the boundary conditions and six economic approaches to
understanding the cultural and creative industries.
THE DEFINITION OF CULTURAL INDUSTRIES:
Those industries that combine the creation, production and commercialization of contents
which are tangible or cultural in nature (UNESCO).
Cultural goods such as art, music, literature and film, share the following three characteristics:
è Human creativity (there must be human input of some sort of creativity in production)
è Symbolic messages (there must be a transmission of symbolic messages to those who
consume the goods as well as those who observe the ones consuming, that serves
some sort of larger communicative purpose)
è Intellectual property (that can be attributed to a particular individual or a group
producing the good)
THE DEFINITION OF CREATIVE INDUSTRIES:
, 4
Those industries which have their origin in individual creativity, skill and talent and which
have a potential for wealth and job creation through the generation and exploitation of
intellectual property.
Creative goods like advertisements, graphic design and web design share the following three
characteristics:
è Human creativity (there must be an input of human creativity in their production and
manufacture)
è They can take a form of being a good or a service
è Commercial use (creative goods are predominantly used in a commercial application)
Cultural goods are valued by those who make them and by those who consume them for
social and cultural reasons.
NOT for their utilitarian or materialistic functionality.
Social and cultural evaluations go beyond an economic evaluation.
In contract, the creative goods do not need to satisfy all of the criteria that would enable them
to be cultural, with the exception that they require some level of creativity in their production
and manufacture.
Why do we care about making a distinction between the cultural and creative industries?
If simply an economic perspective is used as an estimate of contribution to define cultural
industries, then only those industries with high growth rates and employment, output,
export, will be included.
But if an artistic, or a cultural perspective is taken, then a completely different group of
industries will be included.
And this will have vast different policy implications, depending upon the kind of economic
analysis that is used.
Cultural Industries
6013B0502Y
Complete Summary
The summary contains:
Summary of entire literature and incorporated notes from the lectures
, 2
Table of Contents
Week 1: Analyzing the creative and cultural industries ...................................................... 3
Modelling the cultural industries (Throsby, 2008) .......................................................................3
An individual business model in the making: A chef’s quest for creative freedom (Svejenova,
Planellas and Vives, 2010) ......................................................................................................... 11
Surviving in times of turmoil: Adaptation of Theatre Les Deux Mondes business model (Poisson-
de Haro & Montpetit, 2012) ...................................................................................................... 13
Week 2 ............................................................................................................................ 16
Organizational design ...................................................................................................... 16
Balancing Act: learning from organizing practices in cultural industries (Lampel, Lant and
Shamsie (2000)) ........................................................................................................................ 17
Capabilities in Motion: New Organizational Forms and the Reshaping of the Hollywood Movie
Industry (Lamped and Shamsie, 2003) ...................................................................................... 18
Beyond networks and hierarchies: Latent organizations in UK television industry (Starkey,
Barnatt and Tempest, 2000)...................................................................................................... 21
Networks and social capital in the UK TV industry: The weakness of weak tires (Antcliff,
Saundry, and Stuart, 2007)........................................................................................................ 26
Week 3: Differences between single and complex identities. ............................................ 29
Robust identities or nonidentities? Typecasting in the feature film labor market. (Zuckerman,
Kim, Ukanwa and Von Rittmann, 2003)..................................................................................... 29
Understanding the bond of identification: investigating its correlates among art museum
members (Bhattacharya, Rao and Glynn, 1995) ........................................................................ 35
Strategic orientation and firm performance in an artistic environment (Voss and Voss, 2000) .. 38
Third-party signals and sales to expert-agent buyers: quality indicators in the contemporary
visual arts market. (Kackovic et al., 2020) ................................................................................. 41
Week 5: CCI and Technological Change ............................................................................ 44
When market information constitutes fields: sensemaking of markets in the commercial music
industry (Anand and Peterson, 2000) ........................................................................................ 48
Should you invest in the Long Tail? (Elberse, 2008) ................................................................... 53
Web-based experiments for the study of collective social dynamics in cultural markets (Salganik
and Watts, 2009) ...................................................................................................................... 56
Week 6 ............................................................................................................................ 61
Avoiding ‘Star Wars’- Celebrity Creation as Media Strategy (Frank and Nuesch, 2007) .............. 61
Why some Awards are more Effective Signals of Quality than Others: A study of Movie Awards
(Gemser, Leenders and Wijnberg, 2008) ................................................................................... 63
Coping with uncertainty, abundance and strife: Decision- making processes of Dutch acquisition
editors in the global market for translations ............................................................................. 66
Franssen and Kuipers (2013) ..................................................................................................... 66
, 3
Week 1: Analyzing the creative and cultural industries
Modelling the cultural industries (Throsby, 2008)
The article discusses the definition of cultural industries, the boundaries of cultural industries,
and examines six tools for economic analysis that can be applied to cultural industries.
The core question posed in the article:
Is it possible to find a common group of industries on which all of the models agree?
Understanding of why and how a cultural product is valued by a particular stakeholder (could
be an expert, another cultural producer, or even a consumer).
The author is paying explicit attention to different definitions of cultural and creative
industries.
He is paying attention to the boundary conditions and six economic approaches to
understanding the cultural and creative industries.
THE DEFINITION OF CULTURAL INDUSTRIES:
Those industries that combine the creation, production and commercialization of contents
which are tangible or cultural in nature (UNESCO).
Cultural goods such as art, music, literature and film, share the following three characteristics:
è Human creativity (there must be human input of some sort of creativity in production)
è Symbolic messages (there must be a transmission of symbolic messages to those who
consume the goods as well as those who observe the ones consuming, that serves
some sort of larger communicative purpose)
è Intellectual property (that can be attributed to a particular individual or a group
producing the good)
THE DEFINITION OF CREATIVE INDUSTRIES:
, 4
Those industries which have their origin in individual creativity, skill and talent and which
have a potential for wealth and job creation through the generation and exploitation of
intellectual property.
Creative goods like advertisements, graphic design and web design share the following three
characteristics:
è Human creativity (there must be an input of human creativity in their production and
manufacture)
è They can take a form of being a good or a service
è Commercial use (creative goods are predominantly used in a commercial application)
Cultural goods are valued by those who make them and by those who consume them for
social and cultural reasons.
NOT for their utilitarian or materialistic functionality.
Social and cultural evaluations go beyond an economic evaluation.
In contract, the creative goods do not need to satisfy all of the criteria that would enable them
to be cultural, with the exception that they require some level of creativity in their production
and manufacture.
Why do we care about making a distinction between the cultural and creative industries?
If simply an economic perspective is used as an estimate of contribution to define cultural
industries, then only those industries with high growth rates and employment, output,
export, will be included.
But if an artistic, or a cultural perspective is taken, then a completely different group of
industries will be included.
And this will have vast different policy implications, depending upon the kind of economic
analysis that is used.
