Contenu du sommaire : Le management des industries créatives

Our research aims to understand how seniors cope with career shocks. While the latest research shows that they are not always actors of their careers, our work underlines their capacity to express agency. Based on qualitative research with interim managers, our analysis highlights that seniors manage to overcome the career shocks they encounter by having strategies to refocus or rebalance their career anchor. Several associated tactics are identified, such as a strategic choice of assignments or active mobilisation of the network, which enable seniors to achieve their objective.

This article presents a forgotten pedagogy, known as “demonstration”, coined at the creation of the Conservatory of Arts and Crafts in Paris in 1794. The core idea it is to show, to display objects or moving machines rather than abstractly explain. How can a format designed at the end of the 18th century may contribute today to training in innovation management? The goal is to present and generalize a pedagogical innovation consisting of strolling or wandering through the spaces of the arts and crafts museum to understand the processes of innovation management. Gilles Garel

Our research focuses on the tensions experienced by creators engaged in a collective project. These actors' double identity of artist-entrepreneur and the paradoxical injunctions which result from it have been highlighted by a certain number of works. On the other hand, the literature has not so far been interested in the effects of these tensions in a process of collective entrepreneurship. We address this theoretical gap by a case study on Corsican creation in fashion and design. By mobilizing the institutional logics approach and by constructing a hybrid theoretical framework, we propose a multi-level analysis which highlights the dynamics of confrontation and articulation of the commercial, territorial ethics and artisanal logics, specific to our field. This is our main contribution, which allows a static and processual understanding of the phenomenon of institutional pluralism.

This research focuses on open innovation practices in the rap industry and their impact on the organization of the associated collectives and the works produced. Our analysis of 22 albums produced between 2015 and 2019 indicates that the works are conceived by networks made up of a main core of a few strongly connected actors and numerous actors with more scattered relationships located on the periphery. Our research also shows that the use of open creative processes has consequences on the characteristics of the works produced, and on the place, role and practices of the actors.

We analyze the emergence conditions of creative collectives (here referred to as an expanded creative collective). The aim is to better understand the processes at work in the expansion of a creative collective. We analyze the nature of tensions as well as the regulatory work - the management activity involved -, through two case studies. We characterize the managerial problems in terms of tensions and negotiations. On the processual level, three times of emergence have thus been identified: the initiation / activation / routinization. This paper contributes to the organizing perspective and proposes benchmarks to accompany creatives in the design of this type of collective.

What are the specificities of control and management in the creative industries? A case study conducted in a digital film company shows how the actors organise themselves to manage the high uncertainty of the creative object and the time constraints of the projects. The results underline two axes of the management of a creative organisation: monitoring of the creative process under time constraints, and preservation of the artistic, source of uncertainty of the creative object. The control system of a creative organisation thus combines a double dimension, temporal and artistic.

How can artefact designers organize the convergence of a routine in practices towards the abstraction they attempted to materialise in the artefact? Based on the ethnographic study of the production of the “premiere” of an opera, we highlight three mechanisms by which they align effective practices with the abstraction encoded in their artefact. Our results complement our knowledge on creative organisations by illuminating how stage managers, designers of the promptbook, succeed to reveal the artistic spirit of an original work instilled by a stage director. They also enrich our understanding of the role of artefacts and their designers in the dynamics of organizational routines.