Policy measures for creating an integrated and brand-focused innovation system for film industries in shadow nations : an application to Australia's national film industry

Shadow nations face particular problems in constructing competitive film industries. Shadow nations refer to nations whose relative competitiveness suffers from easy product substitutability by products initiated, produced and distributed by powerful actors, such as media conglomerates located in Hollywood. The dominant literature has so far neglected the developing policy recommendations for dealing explicitly with the challenges of shadow nations. This paper aims to develop and apply a normative model for the development of film industries in shadow nations. The model integrates insights from innovation system studies and place branding. The developed model is applied to the Australian film industry as Australia represents a typical shadow nation within the film industry.

Collaborative design learning for traditional crafts industry

Traditional craft industries need assistance with being transformed into creative industries; as such a transformation will support them to face the future competitive global market. Assistance such as advisory programs should serve long-term benefit for crafts industries as well as optimize self-help potential. Advisory programs using participatory methods will enable craftspeople and stakeholders to reveal resources and potencies, such as socio-cultural value, tradition and other kind of heritages, to generate new innovative ideas of craft design in a sustainable way.

A framework for the transformation of the creative industries in a digital age.

The creative industries sector faces a constantly changing context characterised by the speed of the development and deployment of digital information systems and Information Communications Technologies (ICT) on a global scale. This continuous digital disruption has had significant impact on the whole value chain of the sector: creation and production; discovery and distribution; and consumption of cultural goods and services. As a result, creative enterprises must evolve business and operational models and practices to be sustainable. Enterprises of all scales, type, and operational model are affected, and all sectors face ongoing digital disruption. Management consultancy practitioners and business strategy academics have called for new strategy development frameworks and toolkits, fit for a continuously changing world. This thesis investigates a novel approach to organisational change appropriate to the digital age, in the context of the creative sector in Scotland. A set of concepts, methods, tools, and processes to generate theoretical learning and practical knowing was created to support enterprises to digitally adapt through undertaking journeys of change and organisational development. The framework is called The AmbITion Approach. It was developed by blending participatory action research (PAR) methods and modern management consultancy, design, and creative practices. Empirical work also introduced to the framework Coghlan and Rashford’s change categories. These enabled the definition and description of the extent to which organisations developed: whether they experienced first order (change), second order (adaptation) or third order (transformation) change. Digital research tools for inquiry were tested by a pilot study, and then embedded in a longitudinal study over two years of twentyone participant organisations from Scotland’s creative sector. The author applied and investigated the novel approach in a national digital development programme for Scotland’s creative industries. The programme was designed and delivered by the author and ran nationally between 2012-14. Detailed grounded thematic analysis of the data corpus was undertaken, along with analysis of rich media case studies produced by the organisations about their change journeys. The results of studies on participants, and validation criteria applied to the results, demonstrated that the framework triggers second (adaptation) and third order change (transformation) in creative industry enterprises. The AmbITion Approach framework is suitable for the continuing landscape of digital disruption within the creative sector. The thesis contributes to practice the concepts, methods, tools, and processes of The AmbITion Approach, which have been empirically tested in the field, and validated as a new framework for business transformation in a digital age. The thesis contributes to knowledge a theoretical and conceptual framework with a specific set of constructs and criteria that define first, second, and third order change in creative enterprises, and a robust research and action framework for the analysis of the quality, validity and change achieved by action research based development programmes. The thesis additionally contributes to the practice of research, adding to our understanding of the value of PAR and design thinking approaches and creative practices as methods for change.

Generation next : post-cinema Australian moviemaking, innovation and implications for cultural policy

The Australian screen industries are a leading domestic creative industry sector at a crossroad. New production, distribution and exhibition technologies are challenging traditional models of ‘filmmaking’. For the screen industries to remain competitive they must renovate business models for an emerging marketplace. This paper is a preliminary examination of three key aspects of next generation filmmaking: post-cinema approaches to screen production, emerging production and business models, and issues for policy.

The Fleet Store : pop up fashion retail gallery

The Fleet Store is a project that was created to research the impact of enterprise and authentic learning models, in increasing the viability and improved career potential of fashion business, design and creative industry (fashion major) students. Reflective Thinking techniques were employed to gain valuable insights into the quality of the experience, the networking and the motivational and experiential learning for all students. The lecturer acted as the Managing Director and curator of the entire event while maintaining pedagogy to support the experience. Research focussed on the ways in which student learning outcomes have been improved by creating product a professional and economically viable pop up fashion outlet in an inner city, high profile shopping precinct. The first QUT double degree fashion business students were supervised and guided to be responsible for creating and maintaining a profitable fashion outlet in collaboration with their lecturer Kay McMahon, Wintergarden Management, Brisbane Marketing, Creative Enterprise Australia and QUT Fashion. Reflective thinking and further research into career outcomes (that are acknowledged as being supported by the experience) are currently being undertaken.

Visualising the 48 hour game making challenge

We have always felt that “something very special” was happening in the 48hr and other similar game jams. This “something” is more than the intensity and challenge of the experience, although this certainly has appeal for the participants. We had an intuition that these intense 48 hour game jams exposed something pertinent to the changing shape of the Australian games industry where we see the demise of the late 20th century large studio - the “Night Elf” model and the growth of the small independent model. There are a large number of wider economic and cultural factors around this evolution but our interest is specifically in the change from “industry” to “creative industry” and the growth of games as a cultural media and art practice. If we are correct in our intuition, then illuminating this something also has important ramifications for those courses which teach game and interaction design and development. Rather than undertake a formal ethno-methodological approach, we decided to track as many of the actors in the event as possible. We documented the experience (Keith Novak’s beautiful B&W photography), the individual and their technology (IOGraph mouse tracking), the teams as a group (Time lapse photography) and movement tracking throughout the whole space (Blue tooth phone tracking). The raw data collected has given us opportunity to start a commentary on the “something special” happening in the 48hr.

Business Innovation and Disruption in Publishing

This is the first volume in a book series examining how organizations in the creative industries respond to disruptive change and how they themselves generate business innovations. The aspiration of this book series is to understand some of the common forces behind the disruptions occurring in so many creative industries today and identifying the most promising strategies and responses by organizations to create new value propositions, business models and business practices that can enable these industry participants to cope with and eventually thrive as their industries and sectors are transformed. The chapters included in the volume examine the processes of disruption and transformation due to the technology of the Internet, social forces driven by social media, the development of new portable digital devices with greater capabilities and smaller size, the decreasing costs of new information, and the creation of new business models and forms of intellectual property ownership rights for a digitized industry. The context for this volume is the publishing industries, understood as the industries for the publishing of fiction and non-fiction books, academic literature, consumer as well as trade magazines, and daily newspapers. This volume includes chapters by an internationally diverse array of media scholars whose chapters provide insights into these phenomena in Eastern Europe, Finland, France, Germany, Norway, Portugal, Russia, and the United States, using different methodological frameworks including, but not limited to, surveys, in-depth interviews and multiple-case studies. One gap that this book series seeks to fill is that between the study of business innovation and disruption by innovation scholars largely based in business school settings and similar studies by scholarly experts from non-business school disciplines, including the broader social sciences (e.g. sociology, political science, economic geography) and creative industry based professional school disciplines (e.g. architecture, communications, design, film making, journalism, media studies, performing arts, photography and television). Future volumes of this book series will examine disruption and business innovation in the film, video and photography sectors (volume two), the music sector (volume three) and interactive entertainment (volume four), with subsequent volumes focusing on the most relevant developments in creative industry business innovation and disruption that emerge.

Games and entertainment software

Games and the broader interactive entertainment industry are the major ‘born global/born digital’ creative industry. The videogame industry (formally referred to as interactive entertainment) is the economic sector that develops, markets and sells videogames to millions of people worldwide. There are over 11 countries with revenues of over $1 billion. This number was expected to grow 9.1 per cent annually to $48.9 in 2011 and $68 billion in 2012, making it the fastest-growing component of the international media sector (Scanlon, 2007; Caron, 2008).

Agility in construction

Agile Project Management (APM) is a human-centred method for increasing customer-perceived value in a reliable manner. It has been proven to be particularly suited to creative projects such as Information Systems (IS) development and new product development in the automotive industry (this is in contrast to ‘lean production’ which has proved so useful to automotive production waste elimination). Construction is similarly largely a creative industry and might usefully adopt APM to improve its own reliable value delivery, rather than solely following the industrial trend of lean production. This paper describes APM, comparing it with two prominent lean construction initiatives, and then assesses by phase the potential for any impact of APM in construction. In conclusion: APM would have benefits for all phases of construction, particularly in planning and design, but its adoption for actual construction would generally be disrupted because of the lack of a coherent, well trained and trusted workforce.

Transmedia Practice : A Collective Approach

This volume introduces a collective approach that positions transmedia as a dynamic phenomenon which undergoes constant innovation as it absorbs current trends and advances in its constituent disciplines. The first section, 'Sustaining Future Practices', explores emerging models for defining stakeholder needs, understanding resource requirements and measuring the value and success of transmedia productions. The focus then shifts to 'Intersecting Contexts of Transmedia Practices', which uses the juxtaposition of a diverse collection of case studies to transcend not only the debates about how to define transmedia, but also the professional and disciplinary boundaries that impose artificial constraints upon the way transmedia projects are approached and understood. This inter-disciplinary dialogue aims to promote an ongoing conversation on the challenges and opportunities associated with sustaining this vital creative industry.

动漫行业创业者胜任特征研究

Venture has become an important force for the sustainable economic growth of China, However, research on entrepreneurs is far failed to meet the actual needs, Animation and Comic Industry is an important component of the state-led Cultural and Creative Industries. Entrepreneurship is the rapid growth of population, but the empirical research on the Animation and Comic Industry entrepreneurs’ Competent Characteristic Model is rarely heard. As a manager of a national incubator which major in Cultural and Creative Industry, study these entrepreneurs competent characteristics is my responsibility. As an exploration, the study uses Competent Characteristic Model of classical design methods and behavior events interview method, and selects entrepreneurs which of animation and comic industry business start-up period as the objects. Through coding analysis of 31 entrepreneurs’ interview information, completed the amendment to the dictionary coding, and ultimately construct the animation and comic industry entrepreneurs need to have the threshold competence model and differentiating competence model. Differentiating competence model includes six competencies: tolerance and optimism, cooperation, creative innovation, pool talents, vision, decision-making and tempo control. Threshold competence model includes twenty features, divided into three dimensions: personal characteristics, knowledge quality, capacity of the quality. Knowledge and capacity of the quality are closely related to the core work of entrepreneurs, Personal characteristics concern the deep-seated motivation of the entrepreneurs. The study also analyses and discusses the characteristics of the entrepreneurs on the demographic variables.

Relações públicas e comunicação a internacionalização da banda Cambatango

O presente trabalho de projeto tem como tema Comunicação e Relações Públicas na internacionalização da banda Cambatango. Os Cambatango são uma orquestra típica de tango argentino que deseja consolidar a sua presença no mercado musical europeu. Assim, a pergunta de partida desta investigação é: como é que uma banda musical de origem argentina consegue promover o seu trabalho em território ibérico? O objetivo principal da investigação é associar as atividades de Relações Públicas à indústria da música. Para este fim, foi escolhido um objeto de estudo real, a orquestra Cambatango e proposto um Plano de Relações Públicas que ajude a: fortalecer a gestão e a imagem do grupo; fomentar a visibilidade da banda na indústria musical internacional; conquistar novos públicos e dinamizar a relação com os stakeholders de forma a impulsionar a presença do grupo em território ibérico. Esta investigação tem uma abordagem predominantemente qualitativa, nesse sentido, os métodos de pesquisa utilizados foram: análise SWOT; análise PEST; mapeamento de stakeholders; entrevistas (e respetiva análise categorial temática); pesquisa documental; auditoria em comunicação e pesquisa informal. As principais conclusões foram: existe uma vertente de Relações Públicas para a música, mas que ainda não é muito explorada pelos artistas independentes; um plano de Relações Públicas elaborado com base nas necessidades e objetivos dos artistas pode ajudar a projetar a sua carreira internacional; a indústria da música tem vindo a mudar face às novas tecnologias e os artistas precisam de acompanhar estas tendências; a comunicação é fundamental para estabelecer o diálogo com os diferentes públicos e ganhar maior projeção e visibilidade internacional.

Estrategias para la internacionalización de la industria cinematográfica en Colombia

El cine es una de las actividades de entretenimiento o hobbies preferidos a nivel mundial, por lo que grandes empresas se han formando alrededor de este con el objetivo primordial de proveer todo los aspectos necesarios para crear y producir cine de calidad, que llame cada vez más la atención del público. Un ejemplo de esto es Hollywood, el clúster cinematográfico de Estados Unidos que se considera uno de los más importantes del mundo, en donde cada una de las películas producidas cuenta con los recursos necesarios tanto financieros, tecnológicos y laborales, para generar cine de buena calidad, garantizando así la mayoría de las veces éxito de taquilla, el cual les permite recuperar muy fácil la inversión. Sin embargo, con la globalización el mundo se ha convertido en un libro abierto, lo que implica poder conocer y ver las culturas de otros países, encontrando que las películas son un medio que facilita esta interacción, en las cuales se expone la cultura del país, sus costumbres, su arquitectura, su personalidad y su idioma, aspectos que hoy en día constituyen las industrias creativas o culturales, las cuales poseen un gran porcentajes de de crecimiento sobretodo en los países en vías de desarrollo. Para el caso de Colombia, vemos como a partir del año 2003 con la implementación de la ley de cine 814, nuestra producción empezó a florecer con películas como el Rey, Rosario Tijeras, la historia del Baúl Rosa, Te busco, Mi abuelo, mi papa y yo, entre otras. Películas que en un inicio presentaron una demanda alta, debido al furor y al apoyo nacional brindado. No obstante, demanda que cayó rápidamente debido a las historia repetitivas basadas en guerra sumándole la mala calidad de estas producciones, que fueron castigadas por los cinéfilos. Lo anterior, muestra como la falta de capacitación en todos los eslabones de la cadena productiva del cine, el difícil acceso a recursos financieros y el retraso en materia tecnología, son los mayores obstáculos para nuestro cine, obstáculos que no nos han detenido pero si atrasado, ya que vemos ejemplos como la Película María llena eres de gracia, dirigida por Joshua Marston, estrenada en el 2005, la cual se llevo varios premios internacionales y una nominación al óscar a mejor actriz. Trabajar en estos tres pilares y buscar cooperación internacional permitirá que el cine colombiano conquiste los mercado internacional y a la vez ir constituyendo las bases para crear un clúster latinoamericano de cine.

Utilidad de los conceptos y estrategias comunitarias en el marketing online para la prevención de la copia ilegal en el mercado musical

Esta investigación se dirige a determinar cuál es la utilidad de los conceptos y estrategias comunitarias en el marketing online para la prevención de la copia ilegal en el mercado musical. Con este proyecto se desea que por medio de una nueva disquera enfocada en el comercio online, y usando los conceptos del mercadeo comunitario y el mercadeo relacional, se pueda desarrollar nuevas estrategias de mercadeo en donde se logre incentivar y promover la compra de música original por medio de la creación de una relación más estrecha entre la compañía y el cliente, en la cual pueda afectar de forma positiva a la comunidad a la que este pertenece. El objetivo general es determinar cuál es la utilidad de los conceptos y estrategias comunitarias en el marketing online para la prevención de la copia ilegal en el mercado musical. Los objetivos específicos son: 1. Mostrar la utilidad de los conceptos y estrategias del marketing comunitario en la prevención de la copia ilegal del mercado musical y 2. Implementar las estrategias logradas en la investigación en un plan de creación de empresa. Se utilizará el método de investigación y análisis de caso, utilizando el plan de empresa en la creación de una empresa del mercado musical, tomando la relación estratégica comunitaria y el marketing dentro del plan de mercadeo como estrategia para la prevención de la copia ilegal. Mediante este proyecto se desea que por medio del marketing relacional y de los conceptos del mercadeo hacia comunidades, enfocado en une- marketing sepuedanestablecerestrategiasparalaprevencióndelacopiailegalydelacomprade estos productos Además, se busca implementar dichos resultados en la empresa que se pretende crear en el sector de la industria musical, puesto que la seguridad que tendrán los productos a la venta, serán la ventaja competitiva de la empresa.

Because it takes a village to fund the answers: Crowdfunding University Research

Whichever way you look at it, online crowdfunding is ramifying. From its foundations supporting creative industry initiatives, crowdfunding has branched into almost every aspect of public and private enterprise. Niche crowdfunding platforms and models are burgeoning across the globe faster than you can trill “kerching”. Early adopters have been quick to discover that in addition to money, they also get free market information and an opportunity to develop a relationship with their market base. Despite these evident benefits, universities have been cautious entrants in the crowdfunding space and more generally in the emerging ‘collaborative economy’ (Owyang, 2013). There are many cultural and institutional legacies that might explain this reluctance. For example, to date universities have achieved social (and economic) distinction through refining a set of exclusionary practices including, but not limited to, versions of gatekeeping, ranking and credentialing. These practices are reproduced in the expected behaviors of individual academics who garner social currency and status as experts, legislators and interpreters (Osborne, 20014: 435). Digitalization and the emergent knowledge and collaboration economies, have the potential to disrupt the academy’s traditional appeals to distinction and to re-engage universities and academics with their public stakeholders. This chapter will examine some of the challenges and benefits arising from public micro-funding of university-based research initiatives during a period of industrial transition in the university sector.Broadly then this chapter asks; what does scholarship mean in a digital ecosystem where sociality (rather than traditional systems for assessing academic merit) affords research opportunity and success? How might university research be rethought in a networked world where personal and professional identities are blurred? What happens when scholars adopt the same pathways as non-scholars for knowledge discovery, development and dissemination through use of emerging practices such as crowdfunding. These issues will be discussed through detailed exploration of a successful pilot project to crowdfund university research; Research My World. This project, a collaboration between Deakin University and the crowdfunding platform pozible.com, set out to secure new sources of funding for the ‘long-tail’ of academic research. More generally, it aimed to improve the digital capacity of the participating researchers and create new opportunities for public engagement for the researchers themselves as well as the university. We will examine how crowdfunding and social media platforms alter academic effort (the dis-intermediation or re-intermediation of research funding, reduction of the compliance burden, opportunities for market validation and so on), as well as the particular workflows of scholarly researchers themselves (improvements in “digital presence-building”, provision of cheap alternative funding, opportunities to crowdsource non-academic knowledge). In addressing these questions, this chapter will explore the influence that crowdfunding campaigns have for transforming contemporary academic practices across a range of disciplinary instances, providing the basis for a new form of engagement-led research. To support our analysis we will provide an overview of the initiative through quantitative analysis of a dataset generated by the first iteration of Research My World projects.