- 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
Creative industries experience a variety of changes, which are driven by differing forces. However this variety may be understood by considering two dimensions: semiotic codes; the signifiers of symbolic value that consumers derive from products, and the material base; the formats, fabrics, and physical human activities underpinning these products. We characterize four types of change, based on high and low change combinations with semiotic codes and the material base: Preserve, Ideate, Transform, and Recreate. This framework is applied to a range of creative industries, from mature sectors like museums, architecture, and fashion, through the many transitions of film production, to contemporary digital advertising and online content creation. We show how each of the change types appear to have different drivers related to public policy, demand, technology, and globalization, offering an alternative classification framework to guide creative industries scholars, practitioners, and policy-makers.
Candace Jones is Associate Professor in the Department of Organization Studies at Boston College. Her research interests are Inter‐organizational relations, careers in project‐based organizations, and cultural industries. She has published in Academy of Management Review, Organization Science, Organization Studies, Management Learning, Human Resources, Academy of Management Executive, and has a forthcoming piece in the Journal of Organizational Behavior. She has co‐ edited several special issues and volumes including Manufactured Authenticity in Cultural Industries for Journal of Management Studies, Transformations in Cultural Industries for Research in the Sociology of Organizations and Managing Paradox in Creative Industries for Journal of Organizational Behavior. She is on the editorial review boards of Organization Science, Organization Studies, and the Journal of Management Studies, and is Co‐editor for Essays at the Journal of Management Inquiry.
Prof Mark Lorenzen is in the Department of Innovation and Organizational Economics, Copenhagen Business School, Frederiksburg, Denmark
Dr. Jonathan Sapsed is Principal Research Fellow at the Centre for Research in Innovation Management (CENTRIM), working with the Brighton Business School and with the Faculty of Arts. He is Principal Investigator of the Brighton Fuse projects and has led projects from ESRC, EPSRC, AHRC, and the European Commission, totalling £4m. Dr. Sapsed's work is published in journals like Research Policy and Organization Studies, and he is co-editor of the Oxford Handbook of Creative Industries.
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