Cases in Creative Entrepreneurship

2018-2019

Course Objective

Upon completion of this course students have:
- knowledge and understanding of leading theories, models and debates in
Entrepreneurship and Management in the Creative Industries;
- knowledge of current research in Entrepreneurship and Management in
the Creative Industries;
- knowledge of business issues and challenges in an international and
societal context;
- knowledge of different approaches and solutions to business issues;
- the ability to apply theories and frameworks to practical cases and
managerial problems;
- the ability to apply academic research methods to analyse business and
management issues;
- the ability to critically reflect on current business research;
- the ability to articulate a well-balanced judgment or solutions in
reference to current business or managerial cases, supported by
appropriate theories and arguments;
- the ability to report clearly and concisely;
- sensitivity to deal with ethical dilemmas, social responsibility and
sustainability as relevant business issues;
- the ability to cooperate and communicate constructively in
multidisciplinary and international teams.

Course Content

This course is a specialization course in the Master Entrepreneurship.
It is suitable for students with an interest in the theory and practice
of entrepreneurship and innovation, as well as in the dynamics of the
creative and cultural industries, ranging from movies, TV, music and
computer games to museums and theatres. The course also deals with
wider-ranging economic and sociological aspects of these industries, for
instance, the factors determining the success of hybrid products, or the
impact of internet on changing patterns of demand, as well as the
opportunities for entrepreneurs to market their products, find
financing, expand internationally and develop new business models. By
focusing on the factors determining the success/failure of particular
entrepreneurial ventures or innovations the students will put the
various theoretical approaches to work. Students will work in small
groups to write weekly assignments about that week’s literature. Each
week, selected groups will give classroom presentations about their
weekly assignment in which they propose and answer a question arising
from the literature and discuss one case-study that is pertinent to that
question. Issues that will be covered include - apart from
entrepreneurship and innovation themselves - the economics of reviews
and awards, the dynamics of genres and styles, leadership in creative
organisations, the impact of art policy and subsidies.

Teaching Methods

Weekly: two two-hour lectures (or, if circumstances make it necessary,
one three-hour lecture). In the second lecture, there will also be
presentations by the students of their assignments. Attendance is
mandatory.

Method of Assessment

Attendance is obligatory.

The final grade will consist of the weighted average of the grade (60%)
for the exam and the grade (40%) for the group work (assignments and
presentations). A weighted average of at least 5.5 is a passing grade,
even if one of the two parts is under 5.5.

The exam format is open-book written examination.

The grade for the group work will remain valid for the resit of the
exam.

Entry Requirements

A valid registration in the MSc Entrepreneurship.

Literature

On https://blackboard.ic.uva.nl → URL.Topics for the meetings in weeks 1
to 6 & (provisional! Please check blackboard at the start of the
course):
• week 1, Cultural Markets:
o Bradshaw, A. & Holbrook, M.B. (2007). Remembering Chet:
theorizing the mythology of the self-destructive bohemian artist as
self-producer and self-consumer in the market for romanticism. Marketing
Theory, 7(2), pp. 115–136. http://mtq.sagepub.com/content/7/2/115 → URL;
o Dubois, S. (2012). Recognition and renown, the structure of
cultural markets: evidence from French poetry. Journal of Cultural
Economics, 36, pp. 27–48.
http://link.springer.com/article/10.1007/s10824-011-9153-3 → URL;
o Wijnberg, N.M. (1997). Art and Appropriability in Renaissance
Italy and the Netherlands of the Golden Age: The Role of the Academy.
The Economist, 145(2), pp.139-158.
http://link.springer.com/article/10.1023/A:1002909303504 → URL;
o Velthuis, O. (2003). Symbolic meanings of prices: constructing
the value of contemporary art in Amsterdam and New York galleries.
Theory and Society, 32(2), pp. 181-215.
http://www.jstor.org/stable/3108578?seq=1#page_scan_tab_contents → URL.
• week 2, Entrepreneurship & Risk & Innovation:
o Menger, P-M. (1999). Artistic labor Markets and careers. Annual
review of Sociology, 25, pp. 541-574.
http://www.jstor.org/stable/223516?seq=1#page_scan_tab_contents → URL;
o Hayward, M.L.A. Shepherd, D.A. & Griffin, D. (2006). A Hubris
Theory of Entrepreneurship. Management Science, 52(2), pp. 160-172.
http://www.jstor.org/stable/20110496?seq=1#page_scan_tab_contents → URL;
o Mol, J.M., Chiu, M.M. & Wijnberg, N.M. (2012) Love me Tender: New
Entry in Popular Music. Journal of Organizational Change Management, 25
(1), pp. 88-120.
http://www.emeraldinsight.com/doi/full/10.1108/09534811211199619 → URL;
o Ebbers, J.J. and Wijnberg, N.M. (2012) Nascent Ventures Competing
for Start-up capital: Matching Reputations and Investors, Journal of
Business Venturing, 27(3), pp. 372-384.
http://www.sciencedirect.com/science/article/pii/S0883902611000255 →
URL.
• week 3, Management of creative production:
o Cowen, T. (1996). Why I do not Believe in the Cost Disease: a
Comment on Baumol. Journal of Cultural Economics, 20, pp. 207-214.
http://www.gmu.edu/centers/publicchoice/faculty%20pages/Tyler/why-i-do-
not-believe.PDF → URL;
o Dunham, L. & Freeman, R.E. (2000). There is no Business like Show
Business: Leadership Lessons from the Theatre. Organizational Dynamics,
29(2), pp. 108- 133.
http://www.sciencedirect.com/science/article/pii/S0090261600000188 →
URL;
o Turbide, J. & Laurin, C. (2009). Performance Measurement in the
Arts Sector: The Case of the Performing Arts. International Journal of
Arts Management, 11(2), pp. 56-70. http://www.jstor.org/stable/41064987?
seq=1#page_scan_tab_contents → URL;
o Bhansing, P.V., Leenders, M.A.A.M. & Wijnberg, N.M. (2012).
Performance Effects of Cognitive Heterogeneity in Dual Leadership
Structures in the Arts: The Role of Selection System Orientations.
European Management Journal, 30(6). pp. 523-536.
http://www.sciencedirect.com/science/article/pii/S0263237312000369 →
URL.
• week 4, Critics & Publics:
o Eliashberg J. & Shugan S.M. (1997). Film Critics: Influencers or
Predictors? Journal of Marketing, 61, pp. 68-78.
http://www.jstor.org/stable/1251831?seq=1#page_scan_tab_contents → URL;
o Shrum, W. (1991) "Critics and Publics: Cultural mediation in
Highbrow and Popular Performing Arts", American Journal of Sociology, 97
(2), pp. 347-375. http://www.jstor.org/stable/2781380?seq=1
#page_scan_tab_contents → URL;
o Gemser, G., van Oostrom, M. & Leenders, M.A.A.M. (2007). The
Impact of Film reviews on the Box Office Performance of Arthouse versus
Mainstream Motion Pictures. Journal of Cultural Economics. 31, pp. 43-
63. http://link.springer.com/article/10.1007/s10824-006-9025-4 → URL;
o Dempster, A. (2006). Managing Uncertainties in the Creative
Industries: Lessons from Jerry Springer The Opera. Creativity and
Innovation Management, 15(3), pp. 224-233.
http://onlinelibrary.wiley.com/doi/10.1111/j.1467-
8691.2006.00391.x/abstract → URL.
• week 5, Competition & Classification:
o Vasconcelas, F.C. & Kirschbaum, C. (2005). Jazz Field Evolution:
a Dialogue between musicians and critics. Research paper.
o Anand, N. & Watson, M.R. (2004.) Tournament Rituals in the
Evolution of Fields: The Case of the Grammy Awards. Academy of
Management Journal, 47(1), pp. 59-80.
http://www.jstor.org/stable/20159560?origin=crossref&seq=1
#page_scan_tab_contents → URL;
o Hsu, G. (2006).Jacks of all trades and masters of none:
Audiences’ reactions to spanning genres in feature film production.
Administrative Science Quarterly. 51, pp. 420-450.
http://www.jstor.org/stable/25426914?seq=1#page_scan_tab_contents → URL;
o Kuijken, B., Leenders, M.A.A.M, Wijnberg, N.M. & Gemser, G.
(2014). Mind the gap: the effect of differences in classification by the
production and consumption side of the market on music festival success.
research paper.
• week 6, Art policy & cultural entrepreneurship: subsidized vs
commercial:
o Wijnberg, N.M. (1994). Art and Technology: A Comparative Study of
Policy Legitimation. Journal of Cultural Economics, 18, pp. 3-13.
http://scholar.google.nl/scholar?hl=nl&q=wijnberg+art+policy&btnG=&lr →
URL;
o O’Hare, M. (2008).Arts policy research for the next 25 years: a
Trajectory after Patrons Despite Themselves. Journal of Cultural
Economics, 32(4), pp. 281-291.
http://link.springer.com/article/10.1007/s10824-008-9081-z → URL;
o Alexander, V.A. (1996). Pictures at an Exhibition: Conflicting
pressures in Museums and the Display of Art. American Journal of
Sociology, 101(4), pp. 797-839. http://www.jstor.org/stable/2782231?seq=
1#page_scan_tab_contents → URL;
o Bakhshi, H. & Throsby, D. (2010). Culture of Innovation, An
economic analysis of innovation in arts and cultural organizations.
NESTA, June 2010.
http://www.nesta.org.uk/sites/default/files/culture_of_innovation.pdf →
URL.

Additional Information

This course is only available for students registered for the Master's
programme in Entrepreneurship. For quality reasons, the course cannot
admit other students.

This course is organised by UvA. The course coordinator is Prof.dr. N.
Wijnberg. For more information, please go to http://studiegids.uva.nl
and http://rooster.uva.nl.

General Information

Course Code E_ENT_CE
Credits 6 EC
Period P4
Course Level 400
Language of Tuition English
Faculty School of Business and Economics
Course Coordinator prof. dr. mr. N.M. Wijnberg
Examiner prof. dr. mr. N.M. Wijnberg
Teaching Staff

Practical Information

You cannot register for this course yourself; your faculty's education office carries out registration

Last-minute registration is available for this course.

Target audiences

This course is also available as: