Balancing Act: Learning from Organizing Practices in Cultural Industries

By Joseph Lampel, T. Lant, Jamal Shamsie. 2000

578 citations recorded by the source corpus.

Subfields: Experimental and Cognitive Psychology, Strategy and Management, Urban Studies

View Paper: https://www.semanticscholar.org/paper/d02ab770d045201f436a43ad8ea400ce93a554fe

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Citations in the corpus

Emotional Dynamics and Strategizing Processes: A Study of Strategic Conversations in Top Team Meetings (2014, background): “Writing in this area suggests that while the production of creative outputs may bring certain managerial challenges (Lampel et al., 2000), these are not unique to organizations in the creative sector.”
Creative Leadership: A Multi-Context Conceptualization† (2015, background): “Directors have to select and recombine various professionals in order to satisfy external demands for novelty in the final product as well as their own needs for creative renewal (Lampel et al., 2000; Menger, 1999).”
Managing in the creative industries: Managing the motley crew (2009, background): “For many, because of the nature of their product, the creative industries raise a different order of managerial and organizational challenges (Caves, 2000; Hirsch, 2000; Lampel et al., 2000).”
Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics (2015, unknown): “2007), and difficulties in monitoring and controlling such processes (Lampel et al. 2000).”
Nexus Work: Brokerage on Creative Projects (2010, background): “…industries such as music, fi lm, television, and theatre (e.g., Hirsch, 1972; Becker, 1974, 1982; Faulkner, 1983; Jones, 1996; Peterson, 1997; Lampel, Lant, and Shamsie, 2000; Lampel, Shamsie, and Lant, 2006) suggests that brokers play an important role in bringing experts together through…”
The intrapreneur and innovation in creative firms (2012, background): “Similarly, Lampel et al. (2000) argue that the high degree of specialization inherent in high educational levels may restrict creativity and the capacity to develop new products.”
Misfits, Mavericks and Mainstreams: Drivers of Innovation in the Creative Industries (2011, background): “In short, innovation demands novelty: creative products must be distinctive and comprehensible (Becker, 1982; Lampel et al., 2000).”
Exploitation-Exploration Tensions and Organizational Ambidexterity: Managing Paradoxes of Innovation (2009, background): “Existing research notes similar tensions in cultural industries (Lampel et al. 2000) and product development groups within more traditional industries (Taylor and Greve 2006).”
Convincing the crowd: Entrepreneurial storytelling in crowdfunding campaigns (2017, background): “Their ‘utility’ is often highly subjective and based on the experience customers have, which is why intangible goods are often described as ‘experience goods’ (Hirsch, 1972; Lampel et al., 2000).”
Introduction to paradoxes of creativity: managerial and organizational challenges in the cultural economy (2007, background): “…resurgence of this field can be observed by the growing number of highly regarded academic journals that have provided special issues devoted to cultural industries and their creative practices (See Grabher, 2002; Jones, Anand, & Alvarez, 2005; Jones & Thornton, 2005; Lampel et al., 2000, 2006).”
“Cultural Industries” in Sweden: An Assessment of their Place in the Swedish Economy* (2002, background): “Both Hirsch (1972) and Lampel, Lant, and Shamsie (2000) defined cultural products as nonmaterial goods that serve less their utilitarian function than their aesthetic or expressive functions.”
Impact of dual executive leadership dynamics in creative organizations (2009, background): “There were no generally accepted criteria with which to judge the validity of an artistic or an organizational strategy (DiMaggio, 2001; Lampel et al., 2000).”
Controlling the uncontrollable: ‘Agile’ teams and illusions of autonomy in creative work (2011, background): “Across the creative sectors, the ‘indeterminacy/unknowability of creative production’ (Caves, 2002) poses particular and possibly unique challenges for the management of this production process (Lampel et al., 2000; Lawrence and Phillips, 2002; Tschang, 2007).”
Business model innovation in cultural and creative industries: Insights from three leading mobile gaming firms (2020, background): “, the combination of artistic manager and production manager (Hotho & Champion, 2011), to overcome the difficulties of monitoring and controlling the non-linear creative processes and its impact on competitive advantage (Lampel et al., 2000; Tschang, 2005).”