The Creative Industries

By S. Roodhouse. 2006

304 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/ad44c61d1c554ac47e6f721014316d5f8d77dac2

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Citations in the corpus

Brokerage in SME networks (2010, unknown): “Its ocial network is built on the principles of collaboration, particpation, exploration and exploitation (Hartley, 2005).”
Career success in a boundaryless career world. (2005, background): “For example, artists who perform ‘art for art’s sake’ (Caves, 2000, p. 4) are likely to define success more in terms of the subjective gratification they receive from their work than in Copyright # 2005 John Wiley & Sons, Ltd. J. Organiz.”
Misfits, Mavericks and Mainstreams: Drivers of Innovation in the Creative Industries (2011, background): “The first term, ‘creative arts’, as espoused by the Earl of Shaftesbury and Sir Joshua Reynolds in England during the eighteenth century, became associated with an intellectual ideology of ‘public art’ (Hartley, 2005, pp. 6–7).”
The creation of knowledge: local building, global accessing and economic development—toward an agenda (2014, background): “The ‘upperground’ represents the local concentration of firms, research centers and laboratories and provides a business-related background specialized on market integration (Caves, 2000; Hartley, 2005).”
Managing in the creative industries: Managing the motley crew (2009, background): “Uncertainty is seen as a characteristic of all economic production, and the ‘inherent unknowability’ identified by Caves (2000) characteristic of business start ups, or the progress from micro- and small-sized enterprises in emerging markets (Thompson et al.”
EVALUATIVE SCHEMAS AND THE ATTENTION OF CRITICS IN THE U.S. FILM INDUSTRY. (2005, background): “Research within the field of marketing similarly suggests that critics play an important role in consumer decision-making in cultural industries such as book publishing, theater and performance arts, and recorded music (Litman, 1983; Eliashberg and Shugan, 1997; Greco, 1997; Holbrook, 1999; Caves, 2”
Innovation in the experience economy: a taxonomy of innovation organisations (2009, background): “658) and as a synonym for artists (Caves, 2000). The popular perception of artists as ‘the creative people’ is based on an individualistic view of history. Artists are creative individuals that change history, or at least our personal histories, because we become inspired to look at life in a new wa”
Interactive influence of genre familiarity, star power, and critics' reviews in the cultural goods industry: The case of motion pictures (2005, unknown): “Correspondingly, marketing and economic scholars have started paying increasing attention to the many facets of these industries—Broadway shows and theaters (Caves, 2000; Holak, Havlena, & Kennedy, 1986; Reddy, Swaminathan, & Motley, 1998; Vogel, 2001), recorded music (Caves, 2000; Moe & Fader, 2001”
Reviewing the reviewers: The impact of individual film critics on box office performance (2007, background): “(2006) has provided a measurement of the intrinsic appeal of an experience good after taking into account rater biases and the differences in diagnosticity across critics. Rather than summarizing critical opinion by an average or weighted average across critics, Kamakura et al. (2006)’s technique un”
Creative Industries Mapping: Where have we come from and where are we going? (2008, background): “However Pratt (2004) and Roodhouse (2006) have noted that standard industrial classifications are poorly suited to creative industries especially in the Design and Interactive Media segments.”
The importance of design for firms' competitiveness: a review of the literature (2014, background): “…similarly to other creative activities, design is a social phenomenon: it impacts behaviours (Bianchi, 2002), it relies on social interactions as the source for feedback (Petroski, 1985, Vincenti, 1990), and it creates new ways of perceiving the social settings (Caves, 2002, McLeod et al., 2009).”
Filling Empty Seats: How Status and Organizational Hierarchies Affect Exploration Versus Exploitation in Team Design (2006, background): “Our final control variable captured the effect of financial resources, because films with higher financial resources might use expensive, high-status inputs, thereby reducing the introduction of new resources (Caves, 2000).”
Creative Economy, Cultural Industries and Local Development☆ (2016, background): “Some interesting work are: Creative Economy and Culture Challenges, Changes and Futures for the Creative Industries (2014) by John Hartley, Wen Wen, Henry Siling Li; Key Concepts in Creative Industries (2013) by John Hartley, Jason Potts, Stuart Cunningham, Terry Flew, Michael Keane and John Banks; ”