Creative Industries: Contracts between Art and Commerce Paperback – May 30 2002
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Caves is a Harvard professor of political economy and author of a number of books on industrial efficiency, productivity, and competition. He admits to a two-decade fascination with the economics of the artistic and creative endeavor, but Caves worries that others may regard this interest as "frivolous." Consequently, he thought it better to establish his "reputation for professional seriousness" before attempting this analysis. Caves looks at the visual and performing arts, cinema and television, sound recordings, book publishing, and toys and games to investigate how the theory of contracts and the logic of economic organization affect the production of "simple creative goods" and more "complex goods" like plays or motion pictures, which require teams of artists with diverse talents. Under Caves' scrutiny, art collectors and moviegoers are consumers; gallery owners are "gatekeepers"; and critics are "certifiers." His work is both serious and scholarly and anything but "frivolous." David Rouse
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.
Creative Industries will appeal to the growing community of social scientists and humanists who are interested in and write about cultural policy. Even the economics-averse among them will have no excuse to avoid this gracefully written volume. It promises to be a much-needed touchstone for work in cultural economics, the sociology of art and culture, and the interdisciplinary field of arts and cultural policy analysis. (Paul DiMaggio, Professor of Sociology, Princeton University)
[Caves] uses contract and industrial-organization theory to throw light on how and why the industries producing cultural goods and services--from literature to film, from rock music to opera--work as they do...Caves does not engage issues of ideology, nor of the political or economic importance of the arts, but simply sees the creative industries as fascinating areas of economic activity which have been largely neglected by economists...By documenting a wide range of commercial interactions across the creative industries, this comprehensive and immensely readable book shows persuasively that economic theory can help us understand the sheer business of making art happen. (David Throsby Times Literary Supplement 2000-12-15)
Richard Caves has filled a very large gap: until now virtually no one has addressed the economic organization of the arts and culture. This is a highly accessible work, in which huge volumes of scholarly and popular work have been uncovered, absorbed and assimilated in the finished product.Creative Industries is a splendid book. (Richard Netzer, Professor of Economics and Public Administration, Robert F. Wagner Graduate School of Public Service, New York University)
Creative Industries explores the economics of the arts in exacting detail. With great skill and originality, Caves has analysed the economic forces operating in music, book publishing, painting, the theatre and movies. (Winston Fletcher Times Higher Education Supplement 2001-05-04)
Caves presents an excellent and readable discussion of the economics and organization of the creative arts industry Using an enormous amount of qualitative information, Caves combines the theory of contracts (a new development) with the economics of industrial organization to explain institutional arrangements (the contractual strategies of the market mediators) between artists (authors, actors, performers) and consumers. (R. A. Miller CHOICE)
Most Helpful Customer Reviews on Amazon.com (beta)
The author provides upfront the seven basic economic principles that affect all creative industries:
1. Demand is uncertain
2. Creative workers care about their product
3. Some creative products require diverse skills
4. Differentiated products.
5, 6, 7: read them yourself.
While everybody in the entertainment world might have their own list, this one is written and carefully developed by Richard Caves.
The format might be intimidating to some (e.g., no pictures, no tables, no flashy stuff), so don't buy it if you are not willing to invest a little time and brains to profit from the author's reasoning.
In all honesty, I did not complete this text and there is a strong likelihood that I never will. This is not to say it is without merits entirely (please note that I did give it 3 stars). It is just that the book very long and lacks an intimate feel of solidarity with either the artistic side or the commerce dealers. It covers a lot of ground, and I do believe that my wallet would have been better served if I had just spent an afternoon at the local University library thumbing the text and xeroxing what I deemed relevant.
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