- 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
Creativity has the flavour of a scarce ability much sought-after : people well endowed with it come to be rewarded with earnings and prestige disproportionately higher than what the presumable underlying distribution of skills and abilities would command among the work-force concerned. Yet, the main determinants of creativity are somewhat obscure. The most commonly notion in use is talent, that has become a buzzword everywhere value creation is at stake. If talent were readily definable or observable there would be no uncertainty about success. Since the wellsprings of inventiveness and originality cannot possibly be fully specified, the creative worlds take advantage of an excess supply of workers and works to proceed by ceaseless comparisons and tournaments that not only rank ordinally producers and products, but come to magnify interindividual differences essentially impossible to calibrate from the outset. As a result, inequalities in reputation and earnings attain extreme levels. After reviewing different models that allow for analyzing the Paretian distribution of income and reputation, this article tries to solve the talent puzzle by developing a four-component explanation of inequality in creative labor markets.
Pierre-Michel Menger, Centre National de la Recherche Scientifique and Ecole des Hautes Etudes en Sciences Sociales, CESPRA.
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