MARC details
| 000 -CABECERA |
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| Campo de control de longitud fija |
03716nam a2200217 a 4500 |
| 001 - NÚMERO DE CONTROL |
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| Campo de control |
vtls000006391 |
| 003 - IDENTIFICADOR DEL NÚMERO DE CONTROL |
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| Campo de control |
ES-BaOER |
| 005 - FECHA Y HORA DE LA ÚLTIMA TRANSACCIÓN |
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| Campo de control |
20160520081737.0 |
| 008 - CÓDIGOS DE INFORMACIÓN DE LONGITUD FIJA |
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| Campo de control de longitud fija |
130626s2000 xxu|||||| 0|| ||eng|d |
| 020 ## - NÚMERO INTERNACIONAL NORMALIZADO PARA LIBROS (ISBN) |
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| Número Internacional Normalizado para Libros (ISBN) |
0674001648 |
| 035 ## - NÚMERO DE CONTROL DEL SISTEMA |
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| Número de control del sistema |
0006-39160 |
| 040 ## - FUENTE DE LA CATALOGACIÓN |
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| Centro catalogador de origen |
ES-BaOER |
| Lengua de catalogación |
cat |
| Centro transcriptor |
ES-BaOER |
| 100 1# - PUNTO DE ACCESO PRINCIPAL - NOMBRE DE PERSONA |
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| Nombre de persona |
Caves, Richard E. |
| 9 (RLIN) |
11526 |
| 245 10 - MENCIÓN DE TÍTULO |
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| Título |
Creative industries : |
| Resto del título |
contracts between art and commerce / |
| Mención de responsabilidad etc. |
Richard E. Caves |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) |
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| Lugar de publicación distribución etc. |
Cambridge, Massachusetts : |
| Nombre del editor distribuidor etc. |
Harvard University Press, |
| Fecha de publicación distribución etc. |
2000 |
| 300 ## - DESCRIPCIÓN FÍSICA |
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| Extensión |
ix, 454 p. |
| 520 ## - NOTA DE RESUMEN |
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| Resumen |
This book explores the organization of creative industries, including the visual and performing arts, movies, theater, sound recordings, and book publishing. In each, artistic inputs are combined with other, "humdrum" inputs. But the deals that bring these inputs together are inherently problematic: artists have strong views; the muse whispers erratically; and consumer approval remains highly uncertain until all costs have been incurred. To assemble, distribute, and store creative products, business firms are organized, some employing creative personnel on long-term contracts, others dealing with them as outside contractors; agents emerge as intermediaries, negotiating contracts and matching creative talents with employers. Firms in creative industries are either small-scale pickers that concentrate on the selection and development of new creative talents or large-scale promoters that undertake the packaging and widespread distribution of established creative goods. In some activities, such as the performing arts, creative ventures facing high fixed costs turn to nonprofit firms. To explain the logic of these arrangements, the author draws on the analytical resources of industrial economics and the theory of contracts. He addresses the winner-take-all character of many creative activities that brings wealth and renown to some artists while dooming others to frustration; why the "option" form of contract is so prevalent; and why even savvy producers get sucked into making "ten-ton turkeys," such as Heaven's Gate. However different their superficial organization and aesthetic properties, whether high or low in cultural ranking, creative industries share the same underlying organizational logic. (Font: Editor) |
| 595 ## - Sumario |
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| Sumario |
Preface -- Introduction: Economic Properties of Creative Activities -- Part I: Supplying Simple Creative Goods: 1. Artists as Apprentices ; 2. Artists, Dealers, and Deals ; 3. Artist and Gatekeeper: Trade Books, Popular Records, and Classical Music ; 4. Artists, Starving and Well-Fed -- Part II: Supplying Complex Creative Goods: 5. The Hollywood Studios Disintegrate ; 6. Contracts for Creative Products: Films and Plays ; 7. Guilds, Unions, and Faulty Contracts ; 8. The Nurture of Ten-Ton Turkeys ; 9. Creative Products Go to Market: Books and Records ; 10. Creative Products Go to Market: Films -- Part III: Demand for Creative Goods: 11. Buffs, Buzz, and Educated Tastes ; 12. Consumers, Critics, and Certifiers ; 13. Innovation, Fads, and Fashions -- Part IV: Cost Conundrums ; 14. Covering High Fixed Costs ; 15. Donor-Supported Nonprofit Organizations in the Performing Arts ; 16. Cost Disease and Its Analgesics -- Part V: The Test of Time: 17. Durable Creative Goods: Rents Pursued through Time and Space ; 18. Payola ; 19. Organizing to Collect Rents: Music Copyrights ; 20. Entertainment Conglomerates and the Quest for Rents ; 21. Filtering and Storing Durable Creative Goods: Visual Arts ; 22. New versus Old Art: Boulez Meets Beethoven -- Epilogue -- Notes -- Index |
| 942 ## - ENTRADA PARA ELEMENTOS AGREGADOS (KOHA) |
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| Koha [por defecto] tipo de item |
Book |
