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This introductory booklet is intended to be used by creative individuals and business entrepreneurs both (1) as a tool to understand the specifics of the creative market and the major challenges facing creative enterprises in terms of financing, marketing or managing intellectual property assets, and (2) as a practical guide to assist managers and creators in addressing these challenges and setting up and running viable creative businesses.
A clash between the ideology of growth and the growth of ideas, between control and creativity, between measurement and the immeasurable, between predictability and the fickle muses of inspiration in engulfing our boardrooms. In this scathing swipe at the institutionalised idiocy that is stifling creativity just at the time the world needs it most Gordon Torr draws from the leading lights of creativity research to demolish the myths that surround the generation of ideas in the modern organisation. The curse of the brainstorm, the commoditisation of creative talent, the deskilling of the imagination, the startling inadequacies of management theory – these and the many other horrors of idea-assassination that run rampant in creative sector companies are dissected and disembowelled in this hilarious expose of the drama that unfolds every time a new idea slides across the boardroom table. This book sets out to address the black hole that surrounds the management of creative people, debunking many myths of creativity, and outlining a revolutionary approach to the pressing issue of creative productivity in the contemporary creative sector company. A handbook of tools, techniques, methods and practical ideas whose USP is a framework for thinking about efficient creative management – how to extract value from creative time. Gordon Torr presents a logical argument that puts in place the building blocks of the author’s knowledge and experience towards the final architecture. “We need them as never before. And we know that they’re somehow different. Yet the productive management of creative people is an almost totally neglected science. I doubt if there’s a single industry that wouldn’t gain immediate advantage from Gordon Torr’s scrupulous and enlightening detective work.” - Jeremy Bullmore
The Oxford Handbook of Creative Industries is a reference work, bringing together many of the world's leading scholars in the application of creativity in economics, business and management, law, policy studies, organization studies, and psychology. Creative industries research has become a regular theme in academic journals and conferences across these subjects and is also an important agenda for governments throughout the world, while business people from established companies and entrepreneurs revaluate and innovate their models in creative industries. The Handbook is organized into four parts: Following the editors' introduction, Part One on Creativity includes individual creativity and how this scales up to teams, social networks, cities, and labour markets. Part Two addresses Generating and Appropriating Value from Creativity, as achieved by agents and organizations, such as entrepreneurs, stars and markets for symbolic goods, and considers how performance is measured in the creative industries. Part Three covers the mechanics of Managing and Organizing Creative Industries, with chapters on the role of brokerage and mediation in creative industry networks, disintermediation and glocalisation due to digital technology, the management of project-based organzations in creative industries, organizing events in creative fields, project ecologies, Global Production Networks, genres and classification and sunk costs and dynamics of creative industries. Part Four on Creative Industries, Culture and the Economy offers chapters on cultural change and entrepreneurship, on development, on copyright, economic spillovers and government policy. This authoritative collection is the most comprehensive source of the state of knowledge in the increasingly important field of creative industries research. Covering emerging economies and new technologies, it will be of interest to scholars and students of the arts, business, innovation, and policy.
____________________________ We can all be more creative. John Cleese shows us how. Creativity is usually regarded as a mysterious, rare gift that only a few possess. John Cleese begs to differ, and in this short, immensely practical and often very amusing guide he shows it's a skill that anyone can acquire. Drawing on his lifelong experience as a writer, he shares his insights into the nature of the creative process, and offers advice on how to get your own inventive juices flowing. ____________________________ 'Humorous and practical ... Whether you're hoping to write a novel or paint a masterpiece, you're sure to feel inspired' OK Magazine 'His candor is endearing ... An upbeat guide to the creative process' Kirkus 'A jovial romp ... Cleese fans will enjoy, and writers and other artists will breeze through, picking up a few nuggets of wisdom along the way' The Festival Review 'A sincere and thoughtful guide to creativity, and a very useful book' Graham Norton 'Wise words on the serious business of being silly' Sunday Business Post
The book is like a delicious smörgåsbord with a variety of contributions within creative industries research. David Rylander, Papers in Regional Science This book positions itself with an international approach and with a focus on entrepreneurship. My perception is that this will be read with major interest by policymakers around the world, who right now consider how to form strategies and construct policies to support their own creative industries. . . The book raises interesting aspects of creative industries in comparison to more traditional industries. . . Charlotta Mellander, International Small Business Journal This collection of papers adds some new dimensions to the current creative entrepreneurship research agenda. It highlights the valuable economic and social contribution of the sector but also encourages policymakers, educators and trainers to continue to evaluate the critical role they play in the creative enterprise development process. Culturelink . . . a delight to read. The book is novel and covers an important area of entrepreneurship that is definitely worthy of more attention. The book is useful to practitioners in the creative industries field that want to learn more about the international importance of the sector and also to academics who conduct research in the area. Vanessa Ratten, Journal of Enterprising Communities There is increasing conversation about this industry at conferences around the world. This book would be helpful in putting definitional boundaries around the topic and bringing together the latest research on the topic. It has an automatic international scope, has an interesting selection of subtopics including gender, trends, and economic contributions and is cleverly organized. Patricia G. Greene, Babson College, US The creative industries represent a vital, exciting and rapidly changing field of activity; one that is now recognised as a key growth sector in the knowledge-based economy. However, there is still a general lack of understanding of what is meant by the term creative industry , and thxe creative sector has not, to date, been the subject of concerted academic research. This book redresses the balance by providing valuable insights into the creative entrepreneurial process and platforming some of the key challenges yet to be addressed. A range of pertinent and diverse topics relating to creative entrepreneurship are dealt with, including the different quantitative and qualitative methodologies adopted by researchers in this field. In addition, the nature of creative entrepreneurship across different industry sub-sectors and in different economic and geographical contexts is examined. Illustrating the valuable economic and social contribution of the creative industries sector, Entrepreneurship in the Creative Industries aims to encourage policymakers, educators and trainers to continue to evaluate their critical role in the creative enterprise development process. Students and researchers in entrepreneurship and creative industries fields will also find the book to be an illuminating read.
This myth-busting book shows large companies can construct a strategy, system, and culture of innovation that creates sustained growth. Every company wants to grow, and the most proven way is through innovation. The conventional wisdom is that only disruptive, nimble startups can innovate; once a business gets bigger and more complex corporate arteriosclerosis sets in. Gary Pisano's remarkable research conducted over three decades, and his extraordinary on-the ground experience with big companies and fast-growing ones that have moved beyond the start-up stage, provides new thinking about how the scale of bigger companies can be leveraged for advantage in innovation. He begins with the simply reality that bigger companies are, well, different. Demanding that they "be like Uber" is no more realistic than commanding your dog to speak French. Bigger companies are complex. They need to sustain revenue streams from existing businesses, and deal with Wall Street's demands. These organizations require a different set of management practices and approaches -- a discipline focused on the strategies, systems and culture for taking their companies to the next level. Big can be beautiful, but it requires creative construction by leaders to avoid the creative destruction that is all-too-often the fate of too many.
Long known as the go-to management consultant of the design world, Keith Granet reveals more of his clear-eyed insights about running a creative business in this follow-up to his book The Business of Design. While aimed at creative enterprises, Granet's advice, quickly summarized as "know what you do best and focus on that," applies to any organization, small or large, commercial or nonprofit. He delves into the skill sets and people needed to grow a business, as well as the things you don't need (bad clients, bad employees, negative energy), in an engaging and easy-to-implement manner. His shrewd understanding, gleaned from decades of consulting for brands like Harrods, Pantone, John Varvatos, and Urban Archeology, makes this essential reading for anyone managing a business or thinking of starting one.
This book explores the lived experience of cultural entrepreneurship examining the challenges associated with cultural labour including the insecurities of managing precarious working conditions. Drawing on interviews conducted with cultural workers, Cultural Entrepreneurship focuses on how individuals articulate their experience of entrepreneurship in the cultural and creative industries. Noting the importance of place, the local cultural milieu is examined as a means of situating entrepreneurial practices through cultural and enterprise policies, local networks, and significant relationships. Within this framework, the cultural entrepreneurs’ stories reveal means of subverting or re-interpreting identities and the possibility for ‘rethinking cultural entrepreneurship.’ Aimed at researchers, academics and students investigating cultural entrepreneurship, cultural policy and cultural labour, Cultural Entrepreneurship will additionally be of value to creative industry consultants, cultural policymakers, and those setting up creative enterprises. Researchers from fields such as geography, investigating different aspects of the cultural industries in relation to cultural policy and place, will also find this book to be a useful contribution.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.