Practice oriented approaches to gender in studying organization and management have hitherto stressed practice's performative dimension. This article opens up an underexplored and underexploited critical dimension nascent in practice theory. Via theoretical development and empirical illustration it is argued that a powerful critical opportunity is opened up to practice theory by exploring the various ways in which gaps between practical and discursive consciousness manifest themselves and how these various manifestations impact what is and can be known in social situations. By invoking and refining Giddens' (1979) distinction between practical and discursive consciousness we explore different situations involving the ways gendered practices are enacted and practically and discursively met. We also highlight how the authority of practices and the social institutions they are embedded in can inhibit discursive penetration, that is, knowledge and exploration of the processes and implications of practical conduct and the social institutions upon which they rest. It is concluded that we have much to gain by widening the practice lens and looking at the presence, absence and interplay of both practical and deliberative consciousness in our analyses.
Using a qualitative case study of the transformations of the infrastructure of the Danish film field by the Danish Film Institute and its CEO, three basic questions about entrepreneurial agency are raised. The first deals with the relationship between the institutional environment and the personal backgrounds of entrepreneurial actors. The study finds that certain actors can be seen as possessing extreme or unique levels of legitimacy resulting in being rewarded with tremendous resources and opportunities for strategic action. The second question has to do with how, and what sort of role transformations can take place from a structurally central, but static position in a field. Here ' intermediary entrepreneurialism ' was used to penetrate and integrate the field in such a way as to turn a structurally fixed position from a weak to a strong nexus. The third question deals with how transformations can be effected by an organization that straddles three prominent institutional fields and logics -the state, market and artistic expression. Here, the key role of the term 'professionalization' is emphasized, arguing that this term proved evocative and compelling in each institutional field. The case also adds to our understanding of institutional and transformation processes in creative industries by focusing on two less-studied contexts -the role and strategies of centrally placed actors in initiating and leading transformational activities, and the role that entrepreneurial 'bureaucrats' can play in transforming creative industries.
This article develops and applies a ten parameter typological scheme for comparative analysis of film production regimes. The ten parameters are applied to three ideal typical models -an 'auteur' model, a High Concept (Hollywood) model and a model derived from contemporary Danish film production. This application facilitates the elaboration and illustration of the ten parameters and displays the capacity of the typological scheme in structuring comparison and leading inductive enquiry into film production regimes. Thus, in contrast to many typological schemes that are taxonomical, this scheme is intended to direct empirical research. In plying the middle ground between detailed, single case studies on the one hand, and mono or bi-dimensional comparisons on the other, we capture the virtues of comparative research -discerning the origins of and factors impacting variation, divergence and convergence between regimeswhile also facilitating the construction of models detailed enough to track changes within regimes over time.
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