Creative industries have significance in considerations of regional development because of their potential for both social-cultural and political-economic benefit. This is especially the case in Indigenous communities, given the potential of traditional and contemporary cultural expression for industry development and employment. This research set out to explore and evaluate an action research approach to creative industries development in regional contexts, stimulated by a research initiative of　Queensland's Department of State Development in cooperation with Queensland University of Technology's Creative Industries Research and Applications Centre. It is based on an analysis of seven pilot projects undertaken between 2002 and 2004, most of which involved Indigenous　participation and which gave rise to consideration of the additional value of Indigenist research perspectives. The research found that an action research methodology, informed by Indigenist research values, can assist creative enterprise development in a regional context through the development of new businesses or by value-adding to existing businesses, and the consequent generation and exploitation of new intellectual property. In this process, it found that there is an emerging role for the creative entrepreneur, such a role arising from the practices of community cultural development and social-cultural animation.

In the year 2000, American researchers reported that women constituted 51 percent of Internet users. This was a significant discovery, as throughout the medium’s history, women were outnumbered by men as both users and builders of sites. This thesis probes not only this historical moment of change, but how women are mobilising the World Wide Web in their work, leisure and lives. Not considered in the ‘51% of American women now online’ headline is the lack of women engaged in Web building rather than Web shopping. In technical fields relating to the Web, women are outnumbered and marginalized, being poorly represented in computer-related college and university courses, in careers in computer science and computer programming, and also in digital policy. This thesis identifies the causes for the low number of women in these spheres. I consider the social and cultural reasons for their exclusion and explore the discourses which operate to discourage women’s participation. My original contribution to knowledge is forged as much through how this thesis is written as by the words and footnotes that graze these pages. With strong attention to methodology in Web-based research, I gather a plurality of women’s voices and experiences of under-confidence, humiliation and fear. Continuing the initiatives of Dale Spender’s Nattering on the Net, I research women’s use of the Web in placing a voice behind the statistics. I also offer strategies for digital intervention, without easy platitudes to the ‘potential’ for women in the knowledge economy or through Creative Industries strategies. The chapters of this thesis examine the contexts in which exclusionary attitudes are created and perpetuated. No technology is self-standing: we gain information about ‘new’ technologies from the old. I investigate representations and mediations of women’s relationship to the Web in fields including the media, the workplace, fiction, the Creative Industries and educational institutions. For example, the media is complicit in causing women to doubt their technological capabilities. The images and ideologies of women in film, newspapers and magazines that present computer and Web usage are often discriminatory and derogatory. I also found in educational institutions that patriarchal attitudes privilege men, and discourage female students’ interest in digital technologies. I interviewed high school and university students and found that the cultural values embedded within curricula discriminate against women. Limitations in Web-based learning were also discovered. In discussing the cultural and social foundations for women’s absence or under-confidence in technological fields, I engage with many theories from a prominent digital academic: Dale Spender. In her book Nattering on the Net: Women, Power and Cyberspace, Spender’s outlook is admonitory. She believes that unless women acquire a level of technological capital equal to their male counterparts, women will continue to be marginalised as new political and social ideologies develop. She believes women’s digital education must occur as soon as possible. While I welcome her arguments, I also found that Spender did not address the confluence between the analogue and the digital. She did not explore how the old media is shaping the new. While Spender’s research focused on the Internet, I ponder her theses in the context of the World Wide Web. In order to intervene in the patriarchal paradigm, to move women beyond digital shoppers and into builders of the digital world, I have created a website (included on CD-ROM) to accompany this thesis’s arguments. It presents links to many sites on the Web to demonstrate how women are challenging the masculine inscriptions of digital technology. Although the website is created to interact directly with Chapter Three, its content is applicable to all parts of the thesis. This thesis is situated between cultural studies and internet studies. This interdisciplinary dialogue has proved beneficial, allowing socio-technical research to resonate with wider political applications. The importance of intervention - and the need for change - has guided my words. Throughout the research and writing process of this thesis, organisations have released reports claiming gender equity on the Web. My task is to capture the voice, views and fears of the women behind these statistics.

This study aimed to explore which philosophies and opinions professionals within the Chinese indie game industry hold in relation to the indie concept. Indie is a short form of the word "independence”, and is used to describe certain products and creative practices within media such as video games. The term’s exact definition is however subject to discussion. This study aims to include Chinese game professionals in this discussion. The study was carried out in China through Game Hub Scandinavia (Game Hub Scandinavia, 2018) and in cooperation with Indienova. The participants that were interviewed in this study were all professionals within the Chinese game industry. The research tools developed for these interviews were two playable demos and a survey. The answers provided constituted as basis for the study’s concluding analysis. The data indicated that the Chinese indie developers define indie as a creative endeavour which products and underlying ambitions contrasts the commercially motivated game industry in China. / <p>2018-08-23 14:25, G203, svenska</p><p>Högskolevägen 1, 541 28, Skövde</p>

Ce travail porte sur l'exploration de la nature de la relation créativité-organisation. Dans les travaux antérieurs portant sur la créativité dans les organisations, nous constatons la dominance de l’approche déterministe, dans le sens où les chercheurs se focalisaient sur l’influence des facteurs organisationnels sur les actions créatives. Dans la présente recherche, nous examinons la relation créativité-organisation avec une mise en exergue de l’influence des actions créatives sur l’organisation. Ainsi, nous soulignons la pertinence de la perspective structurelle de l’étude de la créativité.Afin de générer de la connaissance sur la nature de cette relation, nous l’avons examiné dans le contexte des industries créatives, en particulier celui des agences de communication. La pertinence de ce contexte se justifie par la place centrale de la créativité dans les activités de ces dernières. En adoptant une approche qualitative, nous avons réalisé une étude de cas multiples dans huit agences de communication. Ainsi, nous avons étudié la gestion des projets de création au sein de ces agences.Les résultats de la recherche appuient d’une part les travaux antérieurs plaidant pour l'influence des facteurs de l'environnement du travail sur la créativité. D’autre part, ils montrent que, dans le sens contraire, la créativité influence et change le contexte organisationnel.Ce qui nous porte à croire qu'il faut examiner davantage les mécanismes sous-jacents mobilisés par la créativité menant à introduire des changements organisationnels ainsi que le contexte qui favorise ces mécanismes. / This research aims the exploration the relationship between creativity-organisation in the particular context of creative industries. To do so, we tried to answer the following research question: how do communication agencies manage creation projects since creativity is the hearts of these projects? To address the research question, we conducted a multiple case study on eight communications agencies through a qualitative approach. Previous works on creativity in organizations highlight the influence of organizational factors on the creativity of individuals and workgroups. The current research highlights the enactment role of creative actions on established organizations.The results of this research support earlier works showing the influence of factors of the working environment on individual and workgroup. In addition, the results highlight the influence of creativity on the established organization by generating changes in the existing routines and processes.This leads us to believe that more should be done in examining the underlying mechanisms mobilized by creativity leading to introduce organizational changes and the context that enable these mechanisms to happen.

163f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:34:01Z No. of bitstreams: 1 Dissertacao Cesar Franca.pdf: 911842 bytes, checksum: 5be566b9f2b3ca79106c35e5662523d2 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T19:26:16Z (GMT) No. of bitstreams: 1 Dissertacao Cesar Franca.pdf: 911842 bytes, checksum: 5be566b9f2b3ca79106c35e5662523d2 (MD5) / Made available in DSpace on 2013-05-08T19:26:16Z (GMT). No. of bitstreams: 1 Dissertacao Cesar Franca.pdf: 911842 bytes, checksum: 5be566b9f2b3ca79106c35e5662523d2 (MD5) Previous issue date: 2007 / Esta pesquisa apresenta informações sobre as indústrias criativas, um conjunto de atividades econômicas relacionadas com o segmento cultural, que evidenciam a crescente imbricação entre a esfera da economia e da cultura. A investigação se concentra na identificação das principais características dos ocupados em indústrias criativas na Região Metropolitana de Salvador (RMS), no sentido de se formatar um perfil dos mesmos e compará-los com os demais ocupados em atividades econômicas na região. No primeiro momento, realiza-se uma revisão da literatura que trata da relação entre cultura e economia. Apresentando o processo de submissão da cultura à lógica mercantil no início do século XX, e a incorporação de insumos intangíveis, inclusive culturais, no processo produtivo, vale dizer, nas mercadorias carregadas de atributos simbólicos. Entre esses insumos, destaca-se a criatividade. O termo indústrias criativas surge no final dos anos 1990, concebido como instrumento de políticas públicas voltadas à promoção do desenvolvimento econômico regional, articulado com a economia global. Do conceito indústrias “criativas” se desenvolve a idéia de cidades criativas, que designa a aplicação de políticas dessa natureza à regeneração de antigas cidades vítimas do processo de desindustrialização. Neste contexto, ganha centralidade a controversa teoria da classe criativa, que vincula o desenvolvimento regional à presença de um grupo de profissionais do setor de serviços intensivos em conhecimento. Esses seriam atraídos para locais que desenvolvessem os 3T´s - talento, tecnologia e tolerância. Nessa dissertação, buscase, através de uma ótica multidisplinar, identificar, a partir de fontes de dados secundários disponíveis, quem são e como se caracterizam os trabalhadores do segmento criativo da RMS, região que se destaca no contexto cultural do país. / Salvador

O presente trabalho tem como objetivo analisar, a partir das diferentes características e do modo de funcionamento de agências de publicidade de Porto Alegre, como é feita a gestão de pessoas em um contexto de economia criativa. Para tanto foi realizada uma pesquisa exploratória, na qual foram realizadas 24 entrevistas com gestores e colaboradores de quatro agências de publicidade de diferentes portes localizadas na cidade de Porto Alegre. Por meio da técnica de análise de conteúdo identificou-se que os processos de gestão de pessoas nas agências são incipientes devido à grande dificuldade gerada pela alta variação de faturamento. Além disso, os processos de gestão de pessoas têm de ser adaptados conforme as características do trabalho nas indústrias criativas, nas quais se destacam a centralidade da criatividade como insumo produtivo, a importância de fatores não econômicos na satisfação dos trabalhadores, o uso de equipes polivalentes e a necessidade de cooperação entre os trabalhadores. Diante desse cenário o trabalho propõe um conjunto de diretrizes e práticas de gestão de pessoas que atenda à essas características específicas identificadas e ainda fortaleça as práticas de cooperação entre os trabalhadores, diminua a elevada rotatividade de profissionais, melhore o ambiente de trabalho, diminua o risco da agência em momentos de eventual diminuição de faturamento e aproxime o pensar do fazer nas diversas áreas. / This study aims to analyze , from different characteristics and Porto Alegre advertising agencies operating mode , such as people management is done in a context of creative economy . Therefore we carried out a exploratory research, which were conducted 24 interviews with managers and employees four advertising agencies of different sizes located in the city of Porto Alegre. Through content analysis it was found that the people management process in agencies are incipient due to the great difficulty caused by the high variation of revenues. Because of that specificities, people management processes have to be adapted according to the characteristics of work in the creative industries, which highlight the centrality of creativity as a production input , the importance of non- economic factors in the satisfaction of workers , the use of multi-purpose teams and the need for cooperation among workers. The present research proposes a set of guidelines and practices of personnel management that answer these specific characteristics identified and further strengthen cooperation practices among workers, reduce high staff turnover, improve the working environment, reduce the agency's risk in times of eventual decrease in revenues and approach thinking of doing in different areas.

O presente trabalho tem como objetivo analisar, a partir das diferentes características e do modo de funcionamento de agências de publicidade de Porto Alegre, como é feita a gestão de pessoas em um contexto de economia criativa. Para tanto foi realizada uma pesquisa exploratória, na qual foram realizadas 24 entrevistas com gestores e colaboradores de quatro agências de publicidade de diferentes portes localizadas na cidade de Porto Alegre. Por meio da técnica de análise de conteúdo identificou-se que os processos de gestão de pessoas nas agências são incipientes devido à grande dificuldade gerada pela alta variação de faturamento. Além disso, os processos de gestão de pessoas têm de ser adaptados conforme as características do trabalho nas indústrias criativas, nas quais se destacam a centralidade da criatividade como insumo produtivo, a importância de fatores não econômicos na satisfação dos trabalhadores, o uso de equipes polivalentes e a necessidade de cooperação entre os trabalhadores. Diante desse cenário o trabalho propõe um conjunto de diretrizes e práticas de gestão de pessoas que atenda à essas características específicas identificadas e ainda fortaleça as práticas de cooperação entre os trabalhadores, diminua a elevada rotatividade de profissionais, melhore o ambiente de trabalho, diminua o risco da agência em momentos de eventual diminuição de faturamento e aproxime o pensar do fazer nas diversas áreas. / This study aims to analyze , from different characteristics and Porto Alegre advertising agencies operating mode , such as people management is done in a context of creative economy . Therefore we carried out a exploratory research, which were conducted 24 interviews with managers and employees four advertising agencies of different sizes located in the city of Porto Alegre. Through content analysis it was found that the people management process in agencies are incipient due to the great difficulty caused by the high variation of revenues. Because of that specificities, people management processes have to be adapted according to the characteristics of work in the creative industries, which highlight the centrality of creativity as a production input , the importance of non- economic factors in the satisfaction of workers , the use of multi-purpose teams and the need for cooperation among workers. The present research proposes a set of guidelines and practices of personnel management that answer these specific characteristics identified and further strengthen cooperation practices among workers, reduce high staff turnover, improve the working environment, reduce the agency's risk in times of eventual decrease in revenues and approach thinking of doing in different areas.

The aim of this thesis was to, through the thematic analysis, explore which factors influence management of creative workers and how they affect management and organization of the creative firm - CGI studio Wil Film. In conclusion, this thesis has found out that main factors are: rapid growth and transformation of the firm into more permanent form, power of informal organizations and creative work itself. In respons to the negative effects of these factors on creative workers, management established a new postion of HR manager who is carrying out several practices to reduce the negative effects. Training, personal and professional development and retention practices helped to balance Wil Film and positively contributed to firms prosperity. These practices are in contrast with literarture that assumes that HR practices make no sense in the creative industries.

This thesis is a case study which looks at the creation of two theatre productions. Using the literature of Actor-Network Theory as a methodological provocation, it analyses the processes by which networks of actors created these theatre pieces with particular attention to where agency was observed. Through data gathered through observing material interactions, the thesis develops the concept of the (play)text: an object that is an expression of the ideas of the text, but is not the text itself – rather, a bricolage of ‘translations' of a piece of written and rehearsed work bound together by time and combined action. Conceiving of the eventual product – the (play)text in performance – as an example of the ANT concept of an agencement, a network of different people and objects working together to maintain a stable construction, but one which perpetually refines and redefines each of its component parts – this thesis proposes that the (play)text is an example of a dynamic and fractional artistic object, stabilised only briefly in the moments of its performance. Examining the theatre production process in this way contributes to ANT literature by providing specific examples of an artistic object created materially and agentively; it also highlights the limitations of the ways in which theatre has been used as a metaphor within Organisation Studies. Finally, it contributes to work on process change in showing an object which is, though it appears constantly improvisational and changing in its form, stabilised by material interactions.

Il concetto di business model ha acquisito la sua popolarità durante l'ultimo decennio del secolo scorso e continua ancora oggi ad essere uno degli argomenti più rilevanti per la ricerca. Il presente lavoro è composto da tre articoli che si focalizzano su uno dei temi meno esplorati, ossia il business model nelle industrie creative. Il primo paper offre un'analisi del dibattito accademico e sulla base delle pubblicazioni suggerisce le tappe temporali della ricerca sul tema del business model, identificando le aree che hanno ricevuto ancora limitata attenzione. Il secondo articolo è composto da due studi: sulla base di 142 siti web, esso identifica dei cluster di business models online per le aziende operanti nell'industria della moda. Il terzo paper si focalizza invece sull'industria musicale ed esplora per la prima volta la relazione tra il concetto emergente di modello di business individuale e il business model dell'organizzazione. / Business model concept started to acquire its popularity during the last decade of the twentieth century and continues to be an intriguing field of study. This thesis is composed by three autonomous papers and focuses on the less explored theme of the business models in creative industries. The first paper provides the comprehensive analysis of vivid academic discussion present within the publications, suggesting time-related paths in business model research and identifying areas that - despite the growth of the business model literature - yet received little attention. The second paper is composed by two studies: on the base of 142 websites, it identifies specific clusters of online business models in the fashion industry. The third paper moves to the music industry and explores for the first time the relationship between the emerging concept of individual business model and the business model of the organization