- The Oxford Handbook of Creative Industries
- List of Figures
- List of Tables
- List of Contributors
- Creative Industries: A Typology of Change
- The Creative Mind
- Creativity in Teams: Processes and Outcomes in Creative Industries
- Creativity in Social Networks: A Core-Periphery Perspective
- Creativity in the City
- ‘The Market for Symbolic Goods’: Translating Economic and Symbolic Capitals in Creative Industries
- Trading Places: Auctions and the Rise of the Chinese Art Market
- The Market for Creative Labour: Talent and Inequalities
- Stars and Stardom in the Creative Industries
- Creative Entrepreneurs: The Business Models of Haute Cuisine Chefs
- Entrepreneurship in Creative Industries and Cultural Change: Art, Fashion, and Modernity in India
- Performance in the Creative Industries
- Projects and Project Ecologies in Creative Industries
- Managing Project-Based Organization in Creative Industries
- Organizing Events for Configuring and Maintaining Creative Fields
- User Innovation in Creative Industries
- User Innovation in the Music Software Industry: The Case of Sibelius
- Niches, Genres, and Classifications in the Creative Industries
- Sunk Costs and the Dynamics of Creative Industries
- Creative Industries and the Wider Economy
- Brokerage, Mediation, and Social Networks in the Creative Industries
- Digitizing Fads and Fashions: Disintermediation and Glocalized Markets in Creative Industries
- Copyright, the Creative Industries, and the Public Domain
- Copyright and its Discontents
- Public Policy for the Creative Industries
- Global Production Networks in the Creative Industries
- Creative Industries and Development: Culture in Development, or the Cultures of Development?
- Author Index
- Subject Index
Abstract and Keywords
Brokerage roles in creative industries have been widely recognized but rarely studied systematically. In the research that has been done, the term gatekeeper has been used to define actors at many different positions in the networks that connect creative producers with audiences for their products. Using the concept of brokerage from social network theory, we clarify existing research on gatekeepers and cultural intermediaries by distinguishing among different structural positions, functions and motivations of brokers in creative industries. In addition to the familiar tertius gaudens and tertius iungens orientations identified by Burt (1992) and Obstfeld (2005), we add a third tertius transferens (‘the third who translates’) brokerage motivation which captures the translation and symbolic work of intermediaries in creative industries. We offer several empirical examples from the music industry and new service professions that highlight unanswered questions about the operation of modern cultural brokers.
Pacey Foster, Department of Management, University of Massachusetts, Boston.
Richard E. Ocejo, Department of Sociology, John Jay College of Criminal Justice, CUNY.
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