This introductory booklet is intended to be used by creative individuals and business entrepreneurs both (1) as a tool to understand the specifics of the creative market and the major challenges facing creative enterprises in terms of financing, marketing or managing intellectual property assets, and (2) as a practical guide to assist managers and creators in addressing these challenges and setting up and running viable creative businesses.

Serf-era and provincial Russia heralded the spectacular turn in cultural history that began in the 1860s. Examining the role of arts and artists in society's value system, Richard Stites explores this dramatic shift in a groundbreaking history of visual and performing arts in the last decades of serfdom. Provincial town and manor house engaged the culture of Moscow and St. Petersburg while thousands of serfs and exserfs created or performed. Against this background, Mikhail Glinka raised Russian music to new levels and Anton Rubinstein struggled to found a conservatory. Long before the itinerants, painters explored town and country in genre scenes of everyday life. Serf actors on loan from their masters brought naturalistic acting from provincial theatres to the imperial stages. Drawing on extensive archival research, Stites's richly detailed book re-visualises the culture of a flamboyant era and offers new perspectives on the origins of Russia's nineteenth-century artistic prowess.

A clash between the ideology of growth and the growth of ideas, between control and creativity, between measurement and the immeasurable, between predictability and the fickle muses of inspiration in engulfing our boardrooms. In this scathing swipe at the institutionalised idiocy that is stifling creativity just at the time the world needs it most Gordon Torr draws from the leading lights of creativity research to demolish the myths that surround the generation of ideas in the modern organisation. The curse of the brainstorm, the commoditisation of creative talent, the deskilling of the imagination, the startling inadequacies of management theory – these and the many other horrors of idea-assassination that run rampant in creative sector companies are dissected and disembowelled in this hilarious expose of the drama that unfolds every time a new idea slides across the boardroom table. This book sets out to address the black hole that surrounds the management of creative people, debunking many myths of creativity, and outlining a revolutionary approach to the pressing issue of creative productivity in the contemporary creative sector company. A handbook of tools, techniques, methods and practical ideas whose USP is a framework for thinking about efficient creative management – how to extract value from creative time. Gordon Torr presents a logical argument that puts in place the building blocks of the author’s knowledge and experience towards the final architecture. “We need them as never before. And we know that they’re somehow different. Yet the productive management of creative people is an almost totally neglected science. I doubt if there’s a single industry that wouldn’t gain immediate advantage from Gordon Torr’s scrupulous and enlightening detective work.” - Jeremy Bullmore

As the largest ever Australian government investment in creative industries development, the Creative Industries Innovation Centre delivered tailored business services to more than 1500 creative businesses from 2009 to 2015 and provided industry intelligence and advice for public policy and peak sectoral activity. This collection gives an overview of the current ‘state of business’ in Australia’s creative industries – both as an industry sector in its own right and as an enabling sector and skills set for other industries – and reflects on business needs, creative industries policy and support services for the sector. With contributions from the Centre’s team of senior business advisers and from leading Australian researchers who worked closely with the Centre –including experts on design-led innovation and the creative economy – and case studies of leading Australia creative businesses, the book is intended as and industry-relevant contribution to business development and public policy. Content links to the publicly accessible Creative Industries Innovation Centre Collection Archive at the UTS Library, which holds material from Centre’s activities over its six years of operation.

The Oxford Handbook of Creative Industries is a reference work, bringing together many of the world's leading scholars in the application of creativity in economics, business and management, law, policy studies, organization studies, and psychology. Creative industries research has become a regular theme in academic journals and conferences across these subjects and is also an important agenda for governments throughout the world, while business people from established companies and entrepreneurs revaluate and innovate their models in creative industries. The Handbook is organized into four parts: Following the editors' introduction, Part One on Creativity includes individual creativity and how this scales up to teams, social networks, cities, and labour markets. Part Two addresses Generating and Appropriating Value from Creativity, as achieved by agents and organizations, such as entrepreneurs, stars and markets for symbolic goods, and considers how performance is measured in the creative industries. Part Three covers the mechanics of Managing and Organizing Creative Industries, with chapters on the role of brokerage and mediation in creative industry networks, disintermediation and glocalisation due to digital technology, the management of project-based organzations in creative industries, organizing events in creative fields, project ecologies, Global Production Networks, genres and classification and sunk costs and dynamics of creative industries. Part Four on Creative Industries, Culture and the Economy offers chapters on cultural change and entrepreneurship, on development, on copyright, economic spillovers and government policy. This authoritative collection is the most comprehensive source of the state of knowledge in the increasingly important field of creative industries research. Covering emerging economies and new technologies, it will be of interest to scholars and students of the arts, business, innovation, and policy.

The book is like a delicious smörgåsbord with a variety of contributions within creative industries research. David Rylander, Papers in Regional Science This book positions itself with an international approach and with a focus on entrepreneurship. My perception is that this will be read with major interest by policymakers around the world, who right now consider how to form strategies and construct policies to support their own creative industries. . . The book raises interesting aspects of creative industries in comparison to more traditional industries. . . Charlotta Mellander, International Small Business Journal This collection of papers adds some new dimensions to the current creative entrepreneurship research agenda. It highlights the valuable economic and social contribution of the sector but also encourages policymakers, educators and trainers to continue to evaluate the critical role they play in the creative enterprise development process. Culturelink . . . a delight to read. The book is novel and covers an important area of entrepreneurship that is definitely worthy of more attention. The book is useful to practitioners in the creative industries field that want to learn more about the international importance of the sector and also to academics who conduct research in the area. Vanessa Ratten, Journal of Enterprising Communities There is increasing conversation about this industry at conferences around the world. This book would be helpful in putting definitional boundaries around the topic and bringing together the latest research on the topic. It has an automatic international scope, has an interesting selection of subtopics including gender, trends, and economic contributions and is cleverly organized. Patricia G. Greene, Babson College, US The creative industries represent a vital, exciting and rapidly changing field of activity; one that is now recognised as a key growth sector in the knowledge-based economy. However, there is still a general lack of understanding of what is meant by the term creative industry , and thxe creative sector has not, to date, been the subject of concerted academic research. This book redresses the balance by providing valuable insights into the creative entrepreneurial process and platforming some of the key challenges yet to be addressed. A range of pertinent and diverse topics relating to creative entrepreneurship are dealt with, including the different quantitative and qualitative methodologies adopted by researchers in this field. In addition, the nature of creative entrepreneurship across different industry sub-sectors and in different economic and geographical contexts is examined. Illustrating the valuable economic and social contribution of the creative industries sector, Entrepreneurship in the Creative Industries aims to encourage policymakers, educators and trainers to continue to evaluate their critical role in the creative enterprise development process. Students and researchers in entrepreneurship and creative industries fields will also find the book to be an illuminating read.