Strategic design in small creative industry firms

Schmidt, Serje; Schreiber, Dusan; Bohnenberger, Maria Cristina; Pinheiro, Cristiano Max Pereira

doi:10.1080/17510694.2018.1526606

Cited by 8 publications

(11 citation statements)

References 54 publications

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“…There are numbers of articles that address certain areas of management and efficiency of creative businesses. For example, article [18] who claims that organizations, especially within the creative industries, are increasingly faced with limitations while applying classical strategy theories due to changes in social and economic environmental factors. The purpose of their article is to offer a theoreticalconceptual framework for the strategic design of small firms in the creative industries.…”

Section: Discussionmentioning

confidence: 99%

Creative industry as a key creative component of the Slovak economy

Rybarová

2020

SHS Web Conf.

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The global economy is understood as an economy of information, knowledge, creativity, networks and services. The creation of value in the economy is involved in the economic, social and cognitive mechanisms. The economic mechanism emphasizes the processes of cooperation and production, the social mechanism, in turn, communication and marketing techniques, the cognitive mechanism is based on human imagination and interpretation. Under the cognitive mechanism is meant creativity, the ability to bring new motive, ideas. Cognitive mechanisms are in value creation process complementary to economic and social mechanisms and they are capable of producing value separately. One of the approaches to measuring creativity is to define and analyse creative industries. The creative industries are industries in which “combine and overlap the fields of art, culture, business and technology. They create a cycle of creation, production and distribution, using their intellectual capital as primary capital [1]. The contribution of the creative industry lies in its cross-sectoral dimension with minimal territorial constraints. The article will focus on the definition of creative industries and the analysis of creative industries in the Slovakia. The method used was the analysis of trends in the form of percentage year-on-year change. The creative industry is the sensitive on the state and development of the economy in Slovakia.

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Section: Discussionmentioning

confidence: 99%

Creative industry as a key creative component of the Slovak economy

Rybarová

2020

SHS Web Conf.

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“…Recognition of the CI as a legitimate sector of the economy has increasingly been seen in UK policy. Offering innovation and social benefits, CIs have become a critical component in addressing issues of low productivity and socio-economic polarisation (Schmidt et al, 2018).…”

Section: The Policy Environment For Creative Industry Developmentmentioning

confidence: 99%

“…One key element here is differentiation in practice on the basis of sector (Bamiatzi & Kirchmaier, 2012). As a nascent sector, understandings of the development process within the creative industries are in their infancy (Schmidt et al, 2018). However, notable divergence from what might be termed standardised practice has been argued, evolving with organisational tendencies toward employee creativity, projectbased jobs, and network dependence (Bettiol & Sedita, 2011;Hotho & Champion, 2011;Jacobs et al, 2016;Küng, 2007).…”

Section: Introductionmentioning

confidence: 99%

The creative business: enterprise development in the arts-based creative industries

Salder

2020

Creative Industries Journal

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The Creative Industries (CI) is a major growth sector populated by an increasing number of entrepreneurs and small enterprises. Despite its recent success, relatively little is known about how such entities practice as businesses, research too often focused upon a narrow set of subsectors. With expectations to contribute toward both economic and cultural ecosystems, such enterprises are expected to balance the rigours of business management with highly esoteric practices founded upon creative intensity and temporary systems. This paper explores how creative firms balance business and creative practice. Focusing on the under researched Arts-based Creative Industries (ABCI), it uses a novel SME diagnostic to explore enterprise practices, dependencies and exposures in an environment of reduced funding and pressure for commercialisation. It proposes ABCI supplement resource limitations and demands for creative intensity through networks; techniques used by ABCI could be of value more widely to small businesses in an increasingly network-based economy.Similarly, these networks risk locking firms into unrealistic dependence on external sources of knowledge and funding with significant influence on business development.

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“…Creative economic actors ought to introduce innovative strategies to develop their businesses (Hauge, 2012;Schmidt et al, 2018). More generally, the central government of a country needs to establish policies that support the creative economy sector (Kong, 2011;Metze, 2009) and, to a lesser degree, regional sectors (cities/districts) should adopt policies (Fleischmann et al, 2017) by adjusting the conditions of the creative economy sectors in their respective regions.…”

Section: Creative Economy Strategy Efforts In Trenggalek Regencymentioning

confidence: 99%

“…More generally, the central government of a country needs to establish policies that support the creative economy sector (Kong, 2011;Metze, 2009) and, to a lesser degree, regional sectors (cities/districts) should adopt policies (Fleischmann et al, 2017) by adjusting the conditions of the creative economy sectors in their respective regions. Schmidt et al (2018) in their study offer a range of alternatives for creative industry players to improve their creative business strategies, such as partnering with creative partners, establishing creative communities, and urging the government to establish an unbiased legal framework.…”

Section: Creative Economy Strategy Efforts In Trenggalek Regencymentioning

confidence: 99%

A Creative Economy Development Strategy: The Case of Trenggalek Creative Network for Trenggalek Regency, Indonesia

Agustina¹,

Winarno²,

Pratikto³

et al. 2020

JAFEB

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The purpose of this research aims to develop the creative economy sector of rural communities in Trenggalek Regency, East Java, Indonesia by mapping the creative economy sub-sectors in Trenggalek Regency. The creative economy industry has been shown to have a positive effect on GDP in many developing countries and developed countries. In urban areas, the creative economy is often associated with the development of advanced technology, such that it is unlikely to evolve in rural communities. However, the rural environmental landscape, which not only has a wealth of creative human capital but also a cultural heritage, also encourages the growth of the creative economy sector in rural areas. This qualitative research was conducted for 60 working days through in-depth interviews, focus group discussions, observation and literature review. More precisely, first, it identified the potential of the creative economy both sectorally and regionally. Second, it identified the leading creative economy subsectors and compiled a creative economic development road map. After defining and mapping the potential of the creative economy, four of the sixteen sub-sectors of the creative economy were identified to be developed through a strategic plan for the growth of the creative economy using urban branding, innovative industrial centers and renewable resources.

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Strategic design in small creative industry firms

Cited by 8 publications

References 54 publications

Creative industry as a key creative component of the Slovak economy

Creative industry as a key creative component of the Slovak economy

The creative business: enterprise development in the arts-based creative industries

A Creative Economy Development Strategy: The Case of Trenggalek Creative Network for Trenggalek Regency, Indonesia

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