Skills, Scope, and Success: An Empirical Look at the Start-Up Process in Creative Industries in Germany

Do cultural and creative entrepreneurs make affectively driven decisions? Not when they evaluate their opportunities

“…Scholars following the first perspective do not consider cultural and creative industries a homogeneous sector (Chaston & Sadler‐Smith, 2012; Müller et al, 2009) and focus their studies on specific subsectors within the cultural and creative industries (Albinsson, 2018; Chaston, 2008; Chaston & Sadler‐Smith, 2012). Despite acknowledging the specificities of each subsector, the second perspective considers that cultural and creative industries do share common key characteristics that allow the existence of a specific field of research (Boix et al, 2011; Lassen et al, 2018; McKelvey & Lassen, 2018; Pellegrin‐Boucher & Roy, 2019; UNCTAD, 2010): (a) Cultural and creative industries are cycles of creation, production and distribution of goods and services based on the imagination of their creators and that use creativity and intellectual capital as primary inputs (Busson & Evrard, 2013; Lassen et al, 2018; Pellegrin‐Boucher & Roy, 2019); (b) they constitute a set of knowledge‐based activities with an anchoring in arts and cultural capital—for instance, videogames and fashion have an anchoring in drawing, and they are both influenced by visual arts (Lassen et al, 2018; Pellegrin‐Boucher & Roy, 2019); (c) they generate tangible products or intangible intellectual or artistic services with economic value and in a commercial manner (Chen, Chang, & Pan, 2018; Kohn & Wewel, 2018); (d) they have an innovative nature (Evrard & Busson, 2018) and constitute a new dynamic way of creating value and trading (Lassen et al, 2018).…”

“…Despite the relevance of cultural and creative industries as a real source of wealth and value creation (Kohn & Wewel, 2018; Pellegrin‐Boucher & Roy, 2019) and its interest among scholars that dates back at least to the last half of the 19th century (Bürger & Volkmann, 2020; DiMaggio, 1982), cultural and creative entrepreneurship has only become a specialized field of research in the last two decades (Bürger & Volkmann, 2020). Although there has been an upward trend of academic interest devoted to cultural and creative entrepreneurship in the last years (McKelvey & Lassen, 2018), the literature has not yet addressed whether and how entrepreneurs in the cultural and creative industries differ from entrepreneurs in other industries regarding a key stage of the entrepreneurial process—opportunity evaluation.…”

Introduction to A Modern Guide to Creative Economies

“…In creative economies, it is common to work as a freelancer or an entrepreneur (Ball et al, 2010). Creative entrepreneurs often work on a small scale and on a part-time basis (Kohn and Wewel, 2018), combining self-employment with paid employment simultaneously (Hennekam and Bennett, 2016). However, profit-seeking behaviour may be remote for creative entrepreneurs, who rather focus on their meaningful and creative work beyond its economic rationale (Brown et al, 2010).…”

Software startuppers took the media s paycheck Media’s fightback happens through startup culture and abstraction shifts

“…The submarkets of creative industries, classified by Söndermann et al (2009), are the music industry, book market, art market, film industry, radio and TV, performing arts, design, architecture, press, advertising industry, software and games industry, and a residual category of other creative activities (Söndermann et al 2009). Within these submarkets, software and games industry and the advertising business are largest from the startup perspective (Kohn et al 2018). When considering the startups creative and being a strong actor in software and game submarkets of creative industries, two gaps can be found: the eleven other submarkets could be environment for startups in general, but especially for software startup to find software-intensive opportunities there.…”

“…Here the art and design skills as drawing, sketching, visualizing and handcrafting may have a positive impact to startups, also in their most embraced software and games. Here, additional measures are needed to support startups to navigate in creative industries to reach better sales growth and employment creation (Kohn et al 2018). In the future research, the measures are more sophisticated when the design skills are also studied.…”