Creative Industries: Contracts between Art and Commerce

By R. Caves. 2000

684 citations recorded by the source corpus.

Subfields: Urban Studies, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/9589b5e0136b1c9b60243d4e20abcefddc1615f6

Citations in the corpus

Uniform Prices for Differentiated Goods: The Case of the Movie-Theater Industry (2007, neutral): “Demand uncertainty is the most studied characteristic of the motion-picture industry (Caves, 2000; De Vany, 2004; Goldman, 1984) and perhaps the most mentioned explanation for uniform pricing, although it applies only to the movie puzzle.”
The cultural entrepreneur and the creative industries: beginning in Vienna (2006, neutral): “Since most people who are interested in the creative industries are familiar with Richard Caves’ important book ( Caves, 2000 )o n this topic, I shall not duplicate his arguments using sociology.”
Entrepreneurship, Innovation and Industrial Development: Geography and the Creative Field Revisited (2006, neutral): “Because of this volatility, cultural-products industries are especially given to vertical and horizontal disintegration (Caves 2000; Scott 2002b; Storper and Christopherson 1987) such that production is spread out over networks of many different firms.”
Emotional Dynamics and Strategizing Processes: A Study of Strategic Conversations in Top Team Meetings (2014, neutral): “Rather, it has been argued that this sector is like many others where intellectual capital is at a premium (Townley et al., 2009) and production processes and markets very uncertain (Caves, 2000; Lash and Urry, 1994).”
Pro-Social Behavior, Reciprocity or Both? (2002, neutral): “This corresponds to the general practice of all museums ( Caves, 2000: 345-347).”
Cultural economy: a critical review (2005, neutral): “…Bassett et al., 2002; Gibson et al., 2002), but also sociology (Zukin, 1995; du Gay, 1997; du Gay and Pryke, 2002; Stevenson, 2003), media and communications studies (Cunningham, 2001; Hesmondhalgh, 2002), urban planning (Landry, 2000) and economics (Howkins, 2001; Caves, 2000; Throsby, 2001).”
Creativity Economy and a Crisis of the Economy? Coevolution of Knowledge, Innovation, and Creativity, and of the Knowledge Economy and Knowledge Society (2012, neutral): “There is no single classification of economic activities on which the creative industries are based; however, there is still the stable idea that “creative industries” mostly relate to “culture economy,” media, and art business [ 11 , 30].”
Teaching for creativity: towards sustainable and replicable pedagogical practice (2008, neutral): “Thus the need to develop a more creative workforce has been a familiar catch-cry in American and British public and social policy for some time now (Florida 2002; Landry 2000; Leadbeater 1999; Seltzer and Bentley 1999), and in a growing body of scholarship about creative work in digitally enhanced e”
A new map of Hollywood: the production and distribution of American motion pictures (2002, neutral): “Recently, CAVES, 2000, has described this same kind of development in the creative industries on flexible specialization à la Christopherson and Storper.”
Cultural-Products Industries and Urban Economic Development (2004, neutral): “As analysts such as Caves (2000), Grabher (2002), Krätke (2002), Pratt (2000), Storper and Christopherson (1987), and others have repeatedly observed, much of the cultural economy can be described as conforming to a contractual and transactional model of production.”
Modelling the cultural industries (2008, neutral): “Caves’ book on the creative industries ( 2000 ) identifies the peculiarities of cultural production that cause contracts in these industries to be unlike those in other areas of the economy.”
Wisdom or Madness? Comparing Crowds with Expert Evaluation in Funding the Arts (2016, neutral): “Scholars have long noted the great importance of experts, who have historically held a privileged position in many industries, acting as arbiters of taste, quality, and appropriateness (e.g. Abbott, 1988; Caves, 2000; Ginsburgh, 2003; Zuckerman, 1999).”
How Art and Culture Happen in New York (2007, neutral): “Caves (2000) argues that creative industries exhibit different economic characteristics than what he calls “humdrum” industries, relying on spontaneity and a “motley crew” of skills and resources to produce a cultural product.”
Do Creative Industries Cluster? Mapping Creative Local Production Systems in Italy and Spain (2008, neutral): “From its onset, creative economy was usually associated to the knowledge and new economy (OECD 2001) and its leading issues were traced back to three main fields of study: the creative industries (Caves 2000), the creative cities (Landry 2000), and the creative class (Florida 2002a).”
Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management (2006, neutral): “10 On the additively separable vs. multiplicative production function, see also Caves’ (2000) and Seaman’s (2003) comparative study of cultural and sport economics.”
The Power of Stars: Do Star Actors Drive the Success of Movies? (2007, neutral): “Movies are complex, creative goods that are the result of teams of creative people working together (Caves 2000), which makes it worthwhile to consider the role of one star in relation to other cast members.”