From conception to consumption: creativity and the missing managerial link

Thompson, Paul; Jones, Michael; Warhurst, Chris

doi:10.1002/job.465

Cited by 70 publications

(44 citation statements)

References 16 publications

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“…Comparable examples were discerned in a variety of research fields, ranging from leadership (Guthey and Jackson ) to organizational performance (King and Zeithaml ), affiliation management (Cutcher ), and creativity (Thompson et al . ). In this regard, several studies in the third category advanced paradox as a way of voicing doubt and seemingly illogical findings to the research community – generating potential for criticality in their wake.…”

Section: Results: Setting Out a Typology Of Contributing Through Paradoxmentioning

confidence: 97%

On the Use of Paradox for Generating Theoretical Contributions in Management and Organization Research

Keyser

Guiette

Vandenbempt

2019

Int J Management Reviews

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Although research relating to paradox has burgeoned throughout the past decades, how paradox has been used in generating theoretical contributions remains largely tacit. Hinging on the systematic analysis of 476 publications, this literature review uncovers how scholars have leveraged paradox in demarcating theoretical contributions in the area of management and organization research. First, scholars can make use of paradox as a means to theorize, adding to the core conceptual conversation on paradox. Second, scholars can make use of paradox as a means to understand or advance insight on particular phenomena, drawing from paradox's conceptual knowledge to push forth discussions or debates in other strands of the management and organization field. Finally, scholars can make use of paradox as a way to verbalize something puzzling or surprising, supporting how readers are to appreciate or make sense of theoretical contributions advanced. Denoting approaches identified as highly complementary, this paper offers explicit handholds for academics to develop theoretical contributions through paradox, supporting the consolidation and further elevation of scholarly impact for the paradox community as such.

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Section: Results: Setting Out a Typology Of Contributing Through Paradoxmentioning

confidence: 97%

On the Use of Paradox for Generating Theoretical Contributions in Management and Organization Research

Keyser

Guiette

Vandenbempt

2019

Int J Management Reviews

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“…Many authors use these terms interchangeably (Peterson and Anand ; Thompson et al . ; Towse ). In the present review, studies using cultural or creative industries conceptualizations are included because they do not form independent populations.…”

Section: Cultural Industries Definitionsmentioning

confidence: 99%

“…), virtually unlimited aesthetic choices (Thompson et al . ), and difficulties in monitoring and controlling such processes (Lampel et al . ).…”

Section: Management Challengesmentioning

confidence: 99%

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

Peltoniemi

2014

Int J Management Reviews

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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...

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“…Creative work is a prominent example of those forms of work that are less amenable to direct control by supervisors or through bureaucratic rules (Ouchi, ; Thompson et al ., ; Huws, ; Marrs, ). Neither is it possible to detail the work result and the way to get there, nor can managers observe crucial aspects of the labour process.…”

Section: Crowdsourcing and Control Of Creative Workmentioning

confidence: 99%

Triangular love–hate: management and control in creative crowdworking

Schörpf¹,

Flecker

Schönauer³

et al. 2017

New Technol Work Employ

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This article analyses the ways in which creative crowdwork is managed and controlled within social and economic power relations. It presents findings from a research project on creative crowdworkers focussing on aspects of management and control. The research shows that the design of the platforms and the strategies of their operating companies clearly structure the triangular relationship between platform, clients and workers. In addition to bureaucratic rules and surveillance exercised by the platform, rating opportunities and other control features utilised by clients strongly impact on crowdworkers’ time use, income and creativity and thus on their working and living conditions.

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From conception to consumption: creativity and the missing managerial link

Cited by 70 publications

References 16 publications

On the Use of Paradox for Generating Theoretical Contributions in Management and Organization Research

On the Use of Paradox for Generating Theoretical Contributions in Management and Organization Research

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

Triangular love–hate: management and control in creative crowdworking

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