Pleasure at Work? Gender, Consumption and Work‐based Identities in the Creative Industries

Nixon, Sean; Crewe, Ben

doi:10.1080/1025386042000246197

Cited by 122 publications

(120 citation statements)

References 6 publications

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“…Within advertising agencies in North America and much of Europe women tend to be well represented in account services, media, planning and finance, but women are not well represented in creative (García-González & Otero-Piñeiro, 2011;Klein, 2000;Martín-Llaguno & Hernández Beléndez, 2007;Mallia, 2009;Nixon, 2006). Similar cross-departmental data on women is not available on Peruvian advertising agencies.…”

Section: Introductionmentioning

confidence: 93%

“…However, the regions studied are generally limited to the United States in North America, and Britain and Spain in Europe (Cooper & Puxty, 1996;García-González & Otero-Piñeiro, 2011;Gregory, 2009;Grow & Broyles, 2011;Grow, Roca & Broyles, 2012;Klein, 2000;Mallia, 2009;Martin, 2007;Martín-Llaguno, Beléndez & Hernandez-Ruiz, 2007;Nixon, 2003;Nixon & Crew, 2006;Roca & Pueyo, 2011;Windels, 2011;Windels & Lee, 2012). These studies generally indicate a strong tendency toward gender segregation in advertising creative departments.…”

Section: Gender Segregation In Advertising Creativementioning

confidence: 99%

“…It appears that the culture and social groupings within creative departments are highly colored by masculinity. Studies also demonstrate that female creatives are often segregated within "pink ghetto," assigned to female products (Grow & Broyles, 2011;Mallia, 2009;Nixon & Crew, 2006). Within this patriarchal environment creative men are able to consolidate power, often to the detriment of creative women.…”

Section: Gender Segregation In Advertising Creativementioning

confidence: 99%

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Creative women in Peru: outliers in a machismo world

Mensa

Grow²

2015

Communication & Society

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Gender segregation begins early and is reinforced within the workplace. Advertising creative departments appear to have extreme gender segregation with women representing just 20% of all those working within creative departments worldwide. Yet, creativity does not depend on gender. Thus, the underrepresentation of women is particularly troubling. In Peru women comprise 3% to 10.4% of all people working in advertising creative, which suggests the situation for creative women in Peru is dire. In order to understand this phenomenon, and with the hope of finding solutions, this study uses in-depth interviews to explore the experiences of Peruvian women working in advertising creative departments. The study investigates three primary aspects of Peruvian creative women's experiences. First, it looks at relationships with colleagues and clients. Second, work/life balance is explored. Third, the study examines how the environment within creative departments constrains creative women's employment and advancement opportunities. Findings suggest that Peruvian creative departments are strongly machismo environments where discrimination and gender segregation are staunchly entrenched. This machismo environment creates challenging relationships between creative women and their colleagues and clients, it negatively impacts creative women's work/life balance and it leads to severely constrained hiring, promotion and retention of creative women in Peruvian advertising agencies. The discussion closes with suggestions to help creative women succeed in Peruvian creative departments.

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Section: Introductionmentioning

confidence: 93%

Section: Gender Segregation In Advertising Creativementioning

confidence: 99%

Section: Gender Segregation In Advertising Creativementioning

confidence: 99%

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Creative women in Peru: outliers in a machismo world

Mensa

Grow²

2015

Communication & Society

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“…Creativity and economic development have become a key feature of the economic theory and practice. Nixon and Crewe (2004) emphasize creative industries as a positive model for work and employment. The concept of creative industry influences not only intelligence and technology but also has economic benefits and it has become the new economic growth point in the modern service industry.…”

Section: Introductionmentioning

confidence: 99%

Are We Ready for Creative Tourism? Educational Mismatch of Seasonal Employees in Dubrovnik-Neretva County

Bečić¹,

Šošić²,

Jasprica³

2017

Tourism in Southern and Eastern Europe

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Purpose -The purpose of this paper is to explore creativity among seasonal workers in Dubrovnik-Neretva County, as well as the incidence and determinants of horizontal educational mismatch among seasonal employees in Dubrovnik -Neretva County. Furthermore, purpose is to establish the linkages between horizontal educational mismatch, creativity and worker's intentions of investing in additional education. Methodology -Dataset used in this paper is taken from the Seasonal Employment Survey undertaken by Dubrovnik regional office of Croatian Employment Service (CES) in the 2011 -2015 period and it includes 1670 observation. In order to examine the incidence and determinants of horizontal educational mismatch among seasonal workers in DubrovnikNeretva County multivariate statistical methods will be used. Findings -Finding indicate that there is a significant share of seasonal workers mismatched and approximately 60% of them are not working in the field of their education. Statistical tests show that there are statistically significant relations between horizontal educational mismatch, creativity and worker's intentions of investing in additional education. Contribution -This paper contributes to the Croatian scientific literature in the field of labour economics as well as in the field of tourism. It represents one of the rare analyses linking these two fields and exploring patterns in seasonal tourism employment. This kind of a research provide grounds for future research of tourism and related labour market.

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“…Creative departments are considered as being a laddish creative environment, or what has been defined as men's club (Alvesson 1998;Nixon & Crewe 2004;Broyles & Grow 2008;Etayo & Del Río 2008;Fitzsimmons 2008;Mallia 2009;Gregory 2009). One of the reasons is male networking outside the agency (Ibarra 1992;Gregory 2009) which leads, for example, to male dominance in judgment committees Windels & Lee 2012).…”

Section: Introductionmentioning

confidence: 99%

Is there gender bias when creative directors judge advertising? Name cue effect in ad evaluation

Roca

Tena

Lázaro

et al. 2016

International Journal of Advertising

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A lack of women in creative departments has been documented in previous research. These departments are seen as a male fraternity subculture in advertising agencies, where women experience many difficulties in their career progress. One of these drawbacks is gender bias in the selection of ideas' process. Male creative directors are believed to promote ideas created by men within a homosocial environment. This female perception, that emerged from previous qualitative research, is studied experimentally for the first time. Almost 90 advertising creative directors and higher level positions, assessed ads created by students in an advertising university course. In the current study we explore the effects of ad gender authorship. Results revealed an absence of gender bias based on ad name cues, neither the gender of the ad creators nor the creatives affected the evaluations. The findings are discussed and future research is proposed.

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Pleasure at Work? Gender, Consumption and Work‐based Identities in the Creative Industries

Cited by 122 publications

References 6 publications

Creative women in Peru: outliers in a machismo world

Creative women in Peru: outliers in a machismo world

Are We Ready for Creative Tourism? Educational Mismatch of Seasonal Employees in Dubrovnik-Neretva County

Is there gender bias when creative directors judge advertising? Name cue effect in ad evaluation

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