Shopping for Buyers of Product Development Expertise:

Readman, Jeffrey; Grantham, Andrew

doi:10.1016/j.emj.2006.05.004

Cited by 33 publications

(27 citation statements)

References 34 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…All three countries demonstrate the weakness of the development studios’ position compared with that of publishers. This typical structure of the video game industry is confirmed by other studies in Germany (Bouncken and Müller‐Lietzkow ) and the UK (Grantham and Kaplinsky ; Readman and Grantham ). Cases in which German, Swedish or Polish studios have successfully entered into the international market are exceptions, while those that they seek to conquer confined market niches are the rule.…”

Section: Empirical Results: How National Institutions Mattersupporting

confidence: 80%

“…In this regard, publishing companies and global hardware producers, both of which are key players in the video games industry, have power over essential resources and entry barriers in this sector, for example financing development staff and controlling access to technical systems in the case of licence fees for certain console types (cf. Bouncken and Müller‐Lietzkow ; Grantham and Kaplinsky ; Readman and Grantham ). The GVC approach is thus of value because it highlights the development studios’ lack of bargaining power in relation to that of publishers and the standard‐setting capacity of international hardware producers (see Gereffi et al .…”

Section: National Institutions Industry Specifics and Transnational mentioning

confidence: 99%

See 1 more Smart Citation

The Implications of the Value Chain and Financial Institutions for Work and Employment: Insights from the Video Game Industry in Poland, Sweden and Germany

Teipen

2015

Brit J Industrial Rel

View full text Add to dashboard Cite

What are the reasons for national differences of international market access in high-risk software development and what is the role of employment regulation? This analysis elucidates this question based on national sector studies of the video games industry with particular focus on financial systems, skill formation as well as work and employment systems in Sweden, Germany and Poland. National financial architectures and education are a decisive factor. However, the results also suggest that the 'varieties-of-capitalism' (VoC) approach underestimates industry divergence within and across supposedly homogeneous national models, especially in the field of labour regulation. The author proposes to link VoC theory to a transnational perspective, which complementarily takes into account firm embeddedness in industry-specific value chains.

show abstract

Section: Empirical Results: How National Institutions Mattersupporting

confidence: 80%

Section: National Institutions Industry Specifics and Transnational mentioning

confidence: 99%

The Implications of the Value Chain and Financial Institutions for Work and Employment: Insights from the Video Game Industry in Poland, Sweden and Germany

Teipen

2015

Brit J Industrial Rel

View full text Add to dashboard Cite

show abstract

“…Another possible development for this research could relate to patterns of financing and accessing resources for companies operating in the industry, other than further investigate the intrinsic organisational attributes of each company. For instance, evidence gathered from other studies (Grantham and Kaplinsky, 2005;Readman and Grantham, 2006) suggests that developing companies face smaller challenges compared to publishers or hybrid companies.…”

Section: Resultsmentioning

confidence: 99%

Exploring survival rates of companies in the UK video-games industry: An empirical study

Cabras

Γουμάγιας

Fernandes

et al. 2017

Technological Forecasting and Social Change

View full text Add to dashboard Cite

Nucciarelli, A. (2017) 'Exploring survival rates of companies in the UK video-games industry : an empirical study.', Technological forecasting and social change., 117 . pp. 305-314.Additional information: Use policyThe full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details.

show abstract

“…In addition to trying to influence downstream selections, upstream selectors make production decisions that anticipate preferences among downstream selectors (Negus ). Downstream selectors may also signal their preferences in ways designed to affect decisions made by upstream selectors (Readman and Grantham ).…”

Section: Product−market Characteristicsmentioning

confidence: 99%

“…In addition to trying to influence downstream selections, upstream selectors make production decisions that anticipate preferences among downstream selectors (Negus 1993). Downstream selectors may also signal their preferences in ways designed to affect decisions made by upstream selectors (Readman and Grantham 2006). 4 Payola means 'incentives -monetary or otherwise -offered by selected (in our case, the record companies) to selectors (in our case, the DJs) to cause the selectors to favor the products of these selected' (Mol and Wijnberg 2007).…”

Section: Gatekeepingmentioning

confidence: 99%

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Peltoniemi

2014

Int J Management Reviews

View full text Add to dashboard Cite

During the last decade cultural industries have grown in economic importance, and research interest in them has increased. Despite prolific research, there is a lack of a comprehensive view on the subject. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. This is achieved through a review of 314 cultural industries studies, whereby a classification system of three main and six sub-categories is constructed. On the basis of the review, a framework for future research is presented. Most importantly, future research should examine selection criteria and selection performance, and explore the relationships between tastes, sales, diversity and quality. In this way, researchers might be able to create some order in the extreme uncertainty that cultural industries managers face. 2 INTRODUCTIONResearch on cultural industries has become increasingly popular. This has been motivated by the growth of the economic importance of such sectors (see e.g. United Nations 2010), by the introduction of cultural and creative industries policies (e.g. DCMS 2008), and perhaps also by researchers' passion for and interest in sectors like film, music and video games.Despite increasing popularity, we lack a comprehensive view of the subject. Some cultural industries researchers emphasize the selection system cultural goods need to pass through to reach audiences (e.g. Hirsch 1972), while others highlight the inherent uncertainty concerning the success potential of any cultural good when they do so (e.g. De Vany 2004). For yet others cultural goods are defined by their non-utilitarian value (e.g. , while many have expressed interest in the conflicts between artistically-motivated creatives and financiallymotivated managers (e.g. Eikhof and Haunschild 2007). Despite a vast and varied body of work, it remains unclear what characteristics make industries cultural, which industries belong under the cultural umbrella, and what phenomena are specific to them. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. Based on this, a framework for future research is presented.Based on a review of 314 cultural industries studies we propose the following definition: Cultural industries are those that produce experience goods with considerable creative elements and aim these at the consumer market via mass distribution. The creative elements consist of stories and styles, and they serve the purposes of entertainment, identity-building and social display. Mass distribution refers to storage and delivery where economies of scale play an important role. On the basis of this definition, the activities belonging under the cultural 3 industries concept include film, music, book and magazine publishing, TV and radio, fashion and video games.There are two features that are specific to cultural...

show abstract

Shopping for Buyers of Product Development Expertise:

Cited by 33 publications

References 34 publications

The Implications of the Value Chain and Financial Institutions for Work and Employment: Insights from the Video Game Industry in Poland, Sweden and Germany

The Implications of the Value Chain and Financial Institutions for Work and Employment: Insights from the Video Game Industry in Poland, Sweden and Germany

Exploring survival rates of companies in the UK video-games industry: An empirical study

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Contact Info

Product

Resources

About