Creative industries : (Record no. 42462)

MARC details
000 -CABECERA
Campo de control de longitud fija 03716nam a2200217 a 4500
001 - NÚMERO DE CONTROL
Campo de control vtls000006391
003 - IDENTIFICADOR DEL NÚMERO DE CONTROL
Campo de control ES-BaOER
005 - FECHA Y HORA DE LA ÚLTIMA TRANSACCIÓN
Campo de control 20160520081737.0
008 - CÓDIGOS DE INFORMACIÓN DE LONGITUD FIJA
Campo de control de longitud fija 130626s2000 xxu|||||| 0|| ||eng|d
020 ## - NÚMERO INTERNACIONAL NORMALIZADO PARA LIBROS (ISBN)
Número Internacional Normalizado para Libros (ISBN) 0674001648
035 ## - NÚMERO DE CONTROL DEL SISTEMA
Número de control del sistema 0006-39160
040 ## - FUENTE DE LA CATALOGACIÓN
Centro catalogador de origen ES-BaOER
Lengua de catalogación cat
Centro transcriptor ES-BaOER
100 1# - PUNTO DE ACCESO PRINCIPAL - NOMBRE DE PERSONA
Nombre de persona Caves, Richard E.
9 (RLIN) 11526
245 10 - MENCIÓN DE TÍTULO
Título Creative industries :
Resto del título contracts between art and commerce /
Mención de responsabilidad etc. Richard E. Caves
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Lugar de publicación distribución etc. Cambridge, Massachusetts :
Nombre del editor distribuidor etc. Harvard University Press,
Fecha de publicación distribución etc. 2000
300 ## - DESCRIPCIÓN FÍSICA
Extensión ix, 454 p.
520 ## - NOTA DE RESUMEN
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
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)
Koha [por defecto] tipo de item Book
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      Disponible General Centre d' Informació i Documentació del CERC Centre d' Informació i Documentació del CERC Sala 11/09/2015   S 01370 1900073569 11/09/2015 1 11/09/2015 Book

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