Managing Creativity in the Cultural Industries

Abstract

This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link: Managing Creativity in the Cultural IndustriesPaul Jeffcutt, Centre for Creative Industry, QUB.Andy C Pratt, Department of Geography, LSE.This special issue brings together a series of contributions that are exploring a relatively new interdisciplinary space -the organisation and management of cultural industries i . This opening paper provides an introduction to and a consideration of that territory; it is divided into four main sections.We begin by outlining a conceptual position on creativity and management, and how we might define the cultural industries. Our objective here is to present creativity in a broad organizational field, much in the way that innovation has recently become discussed. Second, we examine the particularity of the cultural industries compared to other industries and how issues of management, organisation and governance are problematic, particularly given the nature of their transformation, or convergence. Third, we outline the broad intellectual space for understanding creativity in a knowledge economy, and indicate how this too presents challenges and opportunities. Finally, we review the dimensions of a significant new space for interdisciplinary research (and policy making) -the organisation and management of cultural industries. We conclude by considering emerging themes from this field and by introducing the contributions from the individual papers to this special issue.

The Role of Universities in the Regional Creative Economies of the UK: Hidden Protagonists and the Challenge of Knowledge Transfer

“…The CCIs draw together a wide network of agencies and stakeholders that range from the field of culture to the industrial and not for profit sectors, which together prompts speculation about the appropriate type of governance for these arrangements (Jeffcutt and Pratt 2002). This shared governance and the role of networks across different sectors appears to suggest that the CCIs contain a high degree of connectivity both in the public infrastructure and in the production and consumption of economic outputs (Comunian 2010).…”

“…This shared governance and the role of networks across different sectors appears to suggest that the CCIs contain a high degree of connectivity both in the public infrastructure and in the production and consumption of economic outputs (Comunian 2010). Jeffcutt and Pratt (2002) describe these arrangements as follows: "Hybrid and emergent organisational spaces, made up of dynamic interfaces between multiple stakeholders with many layers of knowledge are both characteristic of, and endemic in, the cultural industries" (Jeffcutt and Pratt, 2002:231). Hybridity, emergence, multiple stakeholders and multiple layers of knowledge all point to qualities of the Triple Helix.…”

Post-industrial Trajectories of Mediterranean European Cities: The Case of Post-Olympics Athens

“…This kind of learning fi rst termed 'collective learning' by Lawson and Lorenz (1999), 'situated business learning' by Raffo et al (2000) and 'situated creativity' by Jeffcutt and Pratt (2002), involves the creation and further development of a base of common or shared knowledge among individuals making up a productive system which allows them to co-ordinate their actions in the resolution of the technological and organisational problems they confront. Verhille et al (1995).…”

Cultural industries and cultural policy

“…Outside media studies (Hesmondhalgh 2005) and more recently management and organisation studies (Jeffcutt and Pratt 2002) such an analysis has generally been underdeveloped, but it remains especially so with regard to implications for cultural Finally, an important issue raised by the papers by O'Connor, Kong, Christopherson and van Jaarsveld is the international dimension of cultural policy with regard to the cultural industries. Although the focus of these papers is primarily Anglo-American and European, we at least have some indication both within papers and the texts that they discuss, of the range of international policies and practices involving the cultural industries.…”