This doctoral dissertation is concerned with the complex dynamics of knowledge in the South Korean film and TV industry and Swedish filmmaking from a spatiotemporal perspective. The film and TV industries are highly dependent on knowledge and innovation. Production in the film and TV industries usually takes place in the form of projects in which creative professionals form teams for a limited time period to complete creative tasks. Moreover, the film and TV industries are facing rapid and constant changes to work practices, technology, markets and demand. Therefore, the dynamics of knowledge and interactive learning can be an important source of competitive advantages and project success in the film and TV industries.  The aim of this thesis is to enhance understanding of knowledge creation and diffusion processes, relationships with institutional settings and the systematic character of business in the film and TV industries. The focus of this thesis is on the production value chain in which many independent production firms are active. It is argued that 1) the film and TV industries and their institutional environments co-evolve; and 2) project-specific knowledge sourcing takes places through local-extra local linkages. The case of the Korean film and TV industry indicates that its evolution strongly depends on the setting of the respective institutions and regulations, and on the institutional environments. In addition, it is argued that diverse actors, factors and sectors are involved in the emergence and development of the Korean film and TV industry. The Swedish filmmaking case study examines production processes and ecologies and argues that production managers are the key players in them, and their roles – investigator, bridge builder and gatekeeper – in knowledge creation and diffusion processes are central to this part of the production of film and TV. Exploring two case studies with a focus on the key (f)actors of knowledge creation and diffusion processes has resulted in the view that knowledge-based competencies can be an important source of competitive advantage and project success in high-velocity environments.

Series: Creative Industries in Vienna: Development, Dynamics and Potentials

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.

La presente tesi propone una mappatura sui rapporti fra i creatori di contenuti su YouTube (definiti “youtubers”) e i videogiochi. L’impatto di queste nuove figure, collocate fra il profilo dell’influencer e della celebrity, è stato indagato osservandone le ricadute economiche, produttive e di immaginario. L’indagine è stata condotta sfruttando differenti fonti, metodologie (qualitative e quantitative) e prospettive teoriche, in una generale collocazione nel quadro delle industrie creative intrecciate con i game studies e i cosiddetti “YouTube studies”. La tesi, oltre a fotografare l’attuale situazione del gaming su YouTube, presenta un modello le cui buone pratiche possono essere applicate ad ulteriori casi, legati non solo ai videogiochi ma al settore delle industrie creative in generale. / The research project investigates the connections between YouTube content creators (“youtubers”) and video games. The impact of these youtubers, half influencers and half celebrities, is observed in its economic and productive dimension, and in its influence on the collective imagination. The analysis has been conducted with different sources, methodologies (both qualitative and quantitative) and theoretical prospectives, in a general framework related to creative industries, game studies and “YouTube Studies”. The research analyzes the current situation of gaming contents on the YouTube platform, and presents a model related to content creators in the creative industries.

This thesis investigates how New Zealand fashion designers construct and communicate a unique and fluid identity. There are two main focuses of the research. The first is how New Zealand fashion designers build and maintain a unique brand identity in the New Zealand market. This includes an in-depth analysis of the public relations and communication strategies both emerging and established fashion designers use. The second focus is how New Zealand designers communicate their brand identity to export markets. This includes an examination of how the New Zealand national identity has an effect on the communication of their identity in international markets. This research is important as there is little scholarly research on the creative industries in New Zealand, and none on the New Zealand designer fashion industry. Therefore, this research study has been developed to advance literature in this area and provide a basis for further research. While this research study will focus on the New Zealand designer fashion industry, it is hoped that the research will be applicable to other creative industries in New Zealand. A key element of this research is to use the in-depth analysis of the designer fashion industry to provide recommendations on identity management for the New Zealand designer fashion industry and creative industries. Ultimately, this research provides these industries with a practical guide to create and communicate a unique identity in both domestic and export markets. A collective case study method is used to collate the data and is analysed through an interpretive framework. The New Zealand fashion designers that comprise the case studies are Annah Stretton, Robyn Brooks, Jo Robertson, and Cyb le Wiren. Key conclusions are that organisations in the creative industries need to put together an in-depth communications plan as early as possible in their business. This should focus on the creation and communication of a unique and fluid identity in order to differentiate themselves from their competitors and allow them to actively respond to their environment. Industry bodies and New Zealand Trade Enterprise play a key role in the development and export of creative organisations. These organisations need to develop better resources and support systems for the creative industries in order for them to reach their maximum potential.

This project started with the Taiwanese�s Cultural & Creative Industries Policy, which demands that all new products include local cultural content. However, little is known about Taiwanese cultures. This research looked specifically at one of the cultures, the Paiwanese Tribe. This thesis reports on the research journey; identifying what the Paiwanese knew about their culture and why they were unable to produce traditional products. It argues that the displacement of the tribe has made it materially impossible to continue traditional practices. This research then identified ways of capturing spirit of traditional culture using modern technology. A successful model of working with crafts people workshops in discussed. A case is made for the use of narrative enquiry and oral history to record Paiwanese understanding. These understandings were translated into a design outcome using a design method called narrative design. The success of this research suggests that such an approach is one model that can be used in design using new technologies and materials from the re-establishment method of traditional products. The understanding generated for regaining traditional craft knowledge is extended with the design of a tea set that draws on this traditional knowledge, narrative and culture. The tea set represents this knowledge for a global market. It is argued that the design process used can guide design that transforms the culture message and delivers it for a wide audience. This design concept process is a model that can be used to develop cultural products.

Over recent decades several competing descriptions of the media and cultural industries have been put forward. The media and cultural industries have been described as creative industries, copyright industries, and as constitutive of an experience economy. One key element in these descriptions has been the importance of copyright law in a postindustrial economy. The present study is an analysis of an emerging idea of an industry that functions, in part, outside of the market created by copyright law, and by exploiting, or by building markets on top of, digital, cultural and informational commons. The study is about how this idea is expressed in various forms by business organisations, companies, consultants and policymakers. I have invented the concept of the openness industry to denote the businesses that these organisations and policy makers claim are forerunners and promoters of the idea of ‘openness’ as a business model for the media industry. The purpose of the thesis is to analyse the governmentality and ideology of the openness industry. A key element in the idea of the openness industry is that internet users can be persuaded to produce symbolic products for it by other means than the economic incentives provided by copyright. Another key element is the high value placed on single individuals in the creation of economic value; but in contrast to how the copyright industries are thought to be dependent on ‘authors’, the openness industry relies on the ‘entrepreneur’. Previous notions of the media and cultural industries have given publishers and producers of film, music and games a central role.The companies that are seminal to the idea of the openness industry are internet and technology companies.

This thesis examines the relationship between place and creative people and industries. The shift from industrial economies to knowledge-driven economies has ushered in what some scholars refer to as the Creative Economy. At the heart of this new economy are the Creative Industries, which consist of people, creativity, skill and talent. These industries, which are creating more jobs and adding increased value to products and services, represent one of the largest and fastest growing sectors. In Sweden, the Creative Industries are increasingly being recognized as an important asset for global competitiveness and research reveals that 35% of Sweden’s employed are considered part of the so-called ‘Creative Class’: artists, researchers, managers and other related professionals. The research also reveals, however, that there is an uneven distribution of this talent pool throughout the country. As regional growth is of continual concern in Sweden, there has been an increased focus on the potential of the Creative Industries to stimulate development on the local and regional level. The municipality of Kalmar recognizes that its strong cultural institutions are among its greatest assets and they are working to integrate culture and cultural values into the city planning process in order to create an attractive environment. In addition, their recent establishment as a university town is considered to be of the utmost significance in their struggle to attract creative people and industries, and Linnaeus University is recognized as an important motor for regional development as well as a seedbed for innovation, research and new companies. / Uppsatsen undersöker relationen mellan plats och kreativa människor och industrier. Övergången från industriella ekonomier till kunskapsdrivna ekonomier har inlett vad vissa forskare hänvisar till som den kreativa ekonomin. I hjärtat av denna nya kreativa ekonomi finns de kreativa näringarna som består av människor, kreativitet, skicklighet och talang. Dessa industrier, som skapar fler arbetstillfällen och lägger ökat värde till produkter och tjänster, utgör en av de största och snabbast växande branscherna. I Sverige ses de kreativa näringarna mer och mer som en viktig tillgång för den globala konkurrenskraften, och forskning visar att 35% av Sveriges anställda anses vara en del av den så kallade "kreativa klassen": konstnärer, forskare, företagsledare och andra relaterade yrkesgrupper. Forskningen visar dock att det finns en ojämn fördelning av denna talangpool. Eftersom den regionala tillväxten fortsätter att vara ett orosmoln i Sverige, har det skett en ökad fokusering på de möjligheter som de kreativa branscherna har för att stimulera utvecklingen på lokal och regional nivå. Kommunen Kalmar erkänner att dess starka kulturella institutioner är bland dess viktigaste tillgångar och arbetar för att integrera kultur och kulturella värden i stadens planering för att skapa en attraktiv miljö. Dessutom anses dess etablering som universitetsstad vara av största betydelse i kampen för att locka kreativa människor och industrier, och Linnéuniversitetet är erkänt som en viktig motor för regional utveckling samt en grogrund för innovation, forskning och nya företag.

Inter-organizational projects have become common forms of organizing in various industries such as construction, advertising, music, film making etc. The unique structural nature of Inter-organizational projects coupled with the fact that they carried out through the participation of multiple organizations, raises issues of coordination. Particularly when it comes to creative industries, coordination is challenged by demand and transactional uncertainties. In order to understand how inter-organizational projects achieve coordination in such situations, it is important to study their interior processes putting in consideration their environmental context.  The aim of this research is to study how network embeddedness enhances coordination in inter-organizational projects within creative industries. Inter-organizational projects: are projects that are carried out through the collaboration of multiple legally independent organizations Inter-organizational networks: refer to sets of long-term ties among independent organizations that are engaged in continuous exchange relations. Embeddedness: refers to the continuous interaction of individuals, organizations, projects etc. with their environmental context. Macrocultures: refer to the shared beliefs, norms values rules and practices with in inter- organizational networks that guide members on their actions. A qualitative approach using a multiple comparative case study was conducted. Accordingly four projects chosen from creative industries were studied using both primary and secondary data. Macrocultures that are embedded inter-organizational networks facilitate coordination within inter-organizational projects. Further projects that differ in their constituents task nature, time duration and team composition relied on different types of embeddedness for coordination.

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