Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems

Hirsch, Paul M.

doi:10.1086/225192

Cited by 1,059 publications

(477 citation statements)

References 21 publications

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“…By granting legitimacy to candidates, audiences (e.g. the distributors of technology standard-embedded goods or services) serve as autonomous gatekeepers that influence the dominance of a specific product in the market (Hirsch, 1972). Influenced by network effects (Besen and Farrell, 1994), diffusion of a standard and its legitimacy can be recursively reinforcing (Botzem and Dobusch, 2012): legitimacy increases the adoption rate of a standard, which in turn further increases the legitimacy.…”

Section: Literature Review: Standards Network Effects and Legitimacymentioning

confidence: 99%

Comparison of WiBro and TD-LTE deployment networks: implications for standards competition

Kim

Lee

Kwak

2016

IJSS

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Section: Literature Review: Standards Network Effects and Legitimacymentioning

confidence: 99%

Comparison of WiBro and TD-LTE deployment networks: implications for standards competition

Kim

Lee

Kwak

2016

IJSS

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“…When the expressive and routine workers modify art worlds, they are cultural entrepreneurs (DiMaggio, 1982), who carry out "a novel combination that results in something new and appreciated in the cultural sphere" (Swedberg, 2006, p. 260). These cultural entrepreneurs may be artists who mobilize audiences as part of their art work process (Svejenova, Strandgaard Pedersen & Vives, 2011), architects and designers who express client identity through new material combinations (Jones & Massa, 2013), intermediaries who seek to discover and launch new artists and styles (Caves, 2000;Hirsch, 1972;, or audiences who partake in co-creation (Parmentier & Mangematin, 2014). Becker (1982) identifies three roles and respective positions that may reproduce, modify, or create new conventions: mainstreams, mavericks and misfits.…”

Section: Creative Industries As Innovation Contextmentioning

confidence: 99%

Misfits, Mavericks and Mainstreams: Drivers of Innovation in Creative Industries

2011

Organization Studies

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This special issue of Organization Studies welcomes scholarly work on the nature, sources, and value of innovation in creative industries, as well as on the roles and relationships of actors who drive these processes (Bechky, 2006;Jones, 2010). In particular, we invite explorations on the activities and interactions of misfits, mavericks and mainstream individual and collective agents (Peterson & Berger, 1971;Becker, 1982;White & White, 1965) in the emergence of radical or incremental novelty (e.g. genres, forms of production and consumption, new business models) that transforms creative industries (Jones & Thornton, 2005;Svejenova, Planellas & Vives, 2010).Creative industries encompass individuals and collectives engaged in conceiving, developing, and distributing artifacts and experiences with aesthetic properties and symbolic functions, such as books, music, films, paintings, or dance and theatre performances, design, fashion, and architecture. Their strong dependence on originality and novelty for distinctiveness (Alvarez, Mazza, Strandgaard Pedersen, & Svejenova, 2005), as new genres and styles get conceived, theorized, legitimized, diffused and consumed by a range of audiences, makes them a valuable setting for advancing theory on the originators, genesis, and trajectories of innovation.We seek contributions that allow unpacking important dynamics of how newness of products, categories and consumption patterns comes into being and transforms art worlds, fields or industries

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“…Bens culturais, em contrapartida, são bens que geram experiências (BJORKERGREN, 1996;HIRSCH, 1972;HOLBROOK e HIRSCHMAN, 1982). Eles obtêm seu valor por meio das experiências subjetivas geradas, contando com o uso intensivo de símbolos para infl uenciar a percepção e a emoção.…”

Section: A Compreensão Das Indústrias Culturaisunclassified

“…Em seu exame da indústria cultural, Hirsch (1972) afi rma que o surgimento de imperativos opostos é uma característica da indústria cultural em geral. Segundo ele, são sistemas de organizações que mediam o fl uxo de bens entre produtores e consumidores.…”

Section: Navegação Em Um Contexto Culturalunclassified

“…Enquanto grande parte dessas características é própria da indústria cultural, ela lida com condições ambientais -em particular, altos níveis de ambiguidade e dinamismo -cada vez mais comuns em outros setores. Hirsch (1972) argumentou que os altos níveis de ambiguidade e dinamismo que existem na indústria cultural forçam os gestores a buscar constantemente novos modelos para gerenciar suas operações. Isso é bem semelhante ao que ocorre hoje em diversos outros setores econômicos.…”

Section: Conclusõesunclassified

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Equilíbrio em cena: o que aprender com as práticas organizacionais das indústrias culturais

Lampel¹,

Lant

Shamsie

2009

Rev. adm. empres.

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RESUMONeste artigo, delineamos cinco polaridades que envolvem as práticas organizacionais em indústrias culturais. Em primeiro lugar, os gestores devem reconciliar a expressão de valores artísticos com a viabilidade econômica do entretenimento de massa. Segundo, devem buscar inovações que diferenciem seus produtos sem torná-los fundamentalmente diferentes de outros da mesma categoria. Terceiro, devem analisar e atender a demanda existente e ao mesmo tempo usar a imaginação para expandir e transformar o mercado. Quarto, devem equilibrar as vantagens da integração vertical das diferentes atividades e a necessidade de manter uma vitalidade criativa por meio de especialização fl exível. Finalmente, devem desenvolver sistemas criativos para apoiar e comercializar os bens culturais, mas não permitir que esses sistemas suprimam a inspiração individual que está na raiz da criação de valor na indústria cultural. Joseph Lampel

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Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems

Cited by 1,059 publications

References 21 publications

Comparison of WiBro and TD-LTE deployment networks: implications for standards competition

Comparison of WiBro and TD-LTE deployment networks: implications for standards competition

Misfits, Mavericks and Mainstreams: Drivers of Innovation in Creative Industries

Equilíbrio em cena: o que aprender com as práticas organizacionais das indústrias culturais

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