Complete Summary for Theories of Entrepreneurship and Management in the Creative Industries (6314M0212Y) course, covers all mandatory literature and includes incorporated notes from lectures, easy to read and understand, most important points are put in bold
Theories of Entrepreneurship and Management in the Crea5ve Industries
Literature and incorporated notes from lectures week 1-6
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Table of Contents
Week 1............................................................................................................................... 4
Wijnberg & Gemser (2000): Adding Value to Innova=on: Impressionism and the Transforma=on
of the Selec=on System in Visual Arts .........................................................................................4
Peltoniemi (2015): Cultural Industries: Product-Market Characteris=cs, Management Challenges
and Industry Dynamics ...............................................................................................................9
Frey & Steiner (2012): Pay as you go: a new proposal for museum pricing ................................. 13
Caves (2003): Contracts Between Art and Commerce ................................................................ 18
Week 2............................................................................................................................. 21
AccominoV (2009): Crea=vity from interac=on: Ar=s=c movements and the crea=vity careers of
modern painters ....................................................................................................................... 21
Castaner & Campos (2002): The Determinants of Ar=s=c Innova=on: Bringing in the Role of
Organiza=ons ............................................................................................................................ 25
Voss et al. (2008): The Effects of Slack Resources and Environmental Threat on Product
Explora=on and Exploita=on ..................................................................................................... 28
Phillips & Owens (2004): Incumbents, innova=on, and competence: the emergence of recorded
jazz, 1920 to 1929 ..................................................................................................................... 33
Week 3............................................................................................................................. 35
Currid (2007): The Economics of a Good Party: Social Mechanics and The Legi=miza=on of
Art/Culture ............................................................................................................................... 35
Hinz et al. (2011): Seeding Strategies for Viral Marke=ng: An Empirical Comparison ................. 42
Cui & Lui (2012): The Effect of Online Consumer Reviews on New Product Sales ....................... 47
Chung et al. (2012): Adap=ve personaliza=on using social networks ......................................... 50
Week 4............................................................................................................................. 56
De Groot et al., (2021): Cultural consump=on as a signal in the workplace ................................ 56
Gemser & Wijnberg (2001): Effects of Reputa=onal Sanc=ons on the Compe==ve Imita=on of
Design Innova=ons ................................................................................................................... 60
Sagalnik & Wacs (2008): Leading the Herd Astray: An Experimental Study of Self-fulfilling
Prophecies in an Ar=ficial Cultural Market ................................................................................ 65
Yoganarasimhan (2023): Cloak or Flaunt? The Fashion Dilemma ............................................... 67
Week 5............................................................................................................................. 70
Wei (2012): Dealing with reality: Market demands, ar=s=c integrity, and iden=ty work in reality
television produc=on ................................................................................................................ 70
Beverland & Farrelly (2010): The Quest for Authen=city in Consump=on: Consumers’ Purposive
Choice of Authen=c Cues to Shape Experienced Outcomes ....................................................... 72
Mol & Weijnberg (2008): Compe==on: Selec=on and Rock and Roll: The Economics of Payola
and Authen=city ....................................................................................................................... 80
Week 6............................................................................................................................. 89
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Elberse & Eliashberg (2003): Demand and Supply Dynamics for Sequen=ally Released Products
in Interna=onal Market: The Case of Mo=on Pictures ............................................................... 89
Krider & Weijnberg (1998): Compe==ve Dynamics and the introduc=on of New Products: The
Mo=on Picture Timing Game .................................................................................................... 95
Knox & Hannes (2020): Streaming Services and the Homogeniza=on of Music Consump=on... 102
Aguiar & Waldfogel (2018): Plakorms, promo=on, and product discovery: Evidence from Spo=fy
playlists .................................................................................................................................. 103
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Week 1
Wijnberg & Gemser (2000): Adding Value to Innova5on: Impressionism and the
Transforma5on of the Selec5on System in Visual Arts
è Valua*on of cultural products tends to be problema*c.
è The changing role and significance of different types of selec*on systems
è Three basic types of selec*on systems are dis*nguished: market selec5on, peer
selec5on and expert selec5on
è The ar*cle shows that the rise of a group of painters known as the Impressionists
was facilitated by a change in the selec*on system of the visual arts industry from
one dominated by peers into one dominated by experts.
è In the new selec*on system, innova*veness has become the most highly prized
product characteris*c, while a range of expert have begun to play an essen*al role,
cer*fying the innova*veness of either individual ar*sts or groups of ar*sis.
è Some form of value must be assigned to most cultural products. This paper extends
the understanding of value determina1on and resource alloca1on in cultural
industries and analyzes different types of selec1on systems that have been used over
the years.
è Peer selec1on through the established Academies was gradually replaced by expert
selec1on which relied on museum curators, ideological dealers, and professional art
cri1cs. This change was accompanied by an increase in the value of innova*on and a
raise in the status of the Impressionists to a group with avant-garde creden*als.
è The value of most cultural products is generally hard to ascertain, in part because the
standards to be used for this purpose are seldom clear and rarely obvious.
è Value can only be determined within the context of set preferences of individuals
and groups that act as selectors, and therefore necessarily within a par*cular
selec*on system.
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