Creative Industries: Contracts between Art and Commerce

By J. Horner. 2001

1,575 citations recorded by the source corpus.

Subfields: Urban Studies, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/e611045940c6362901b2d57ab6ea2d2511b201b9

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Citations in the corpus

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).”
Priority Sector Report: Creative and Cultural Industries (2010, background): “There is an extensive literature that gives more detailed accounts of the various terms and debates related to creative and cultural industries: (Caves 2000; Scott 2000; Hesmondhalgh 2002; Power 2002; Power and Scott 2004; Pratt 2005; Fleming 2007; Galloway and Dunlop 2007; Kolmodin, Pelli, Bager-Sj”
Creative economy policy in developing countries: The case of Indonesia (2017, background): “Meanwhile, the term creative industries, which is introduced by British scholars and government, covers different categorization (Caves, 2000; DCMS, 2001; Pratt, 2010).”
Looking for work in creative industries policy (2009, neutral): “Jensen 1999 , Leadbeater and Oakley 1999 , Caves 2000 , Howkins 2001 , Florida 2002 , Hartley 2005 ).”
Location, Control and Innovation in Knowledge-Intensive Industries (2008, background): “This process has a strong cultural component as the boundary between arts and commerce is becoming increasingly blurred (Caves, 2000).”
Impact of dual executive leadership dynamics in creative organizations (2009, background): “Leading and coordinating creative organizations requires a capacity for balancing the decision-making across contradictory forces, often requiring trade-offs between artistic excellence and financial viability (Caves, 2000; DeFillippi et al., 2007; Jones et al., 2006; Lampel et al., 2000).”
Cultural Work as a Site of Struggle: Freelancers and Exploitation (2012, background): “They write for magazines, newspapers, books, and produce content for corporations, governments, and NGOs(7). The labour-capital relations that underscore freelance cultural production are often obscured: because freelancers are not engaged in an employment relationship and are not paid a salary, it ”
Comparing systems approaches to innovation and technological change for sustainable and competitive economies: an explorative study into conceptual commonalities, differences and complementarities (2010, background): “Currently there is increased attention for the importance of innovation in so-called low tech sectors [48], creative industries [49], non-technological aspects of innovation and organisational innovation [50].”
The intrapreneur and innovation in creative firms (2012, background): “Therefore, some authors consider that in order to improve the innovation performance of their companies, intrapreneurs in the creative industry must be able to coordinate and leverage creative and business skills (Caves, 2000; Lampel et al., 2000; Malem, 2008; Perretti and Negro, 2007; Wilson and St”
Web-based experiments for the study of collective social dynamics in cultural markets (2009, neutral): “On the other hand, following on the American success of the British game showWho Wants to be a Millionaire? NBC eagerly aired The Weakest Link, another game show popular in theUnitedKingdom,whichwent on to flop (Carter, 2006).”
The cultural and creative industries: a review of the literature (2007, background): “Taken together, the need for new and appealing product coupled with the unpredictability of demand meant that the Culture Industry was faced with a difficult business model – though whether this is a difficult business problematic (Caves, 2000) or a fundamental contradiction (Ryan, 1992) is a matter”
Creative and cultural work without filters: Covid-19 and exposed precarity in the creative economy (2020, background): “porary nature of CCIs projects) principles acknowledge the time-bound nature of work and innovation in CCIs (Caves, 2000).”