Browsing Departments by Author "Mazza, Carmelo"
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What does it mean for business educators?Mazza, Carmelo; Strandgaard Pedersen, Jesper; Alvarez, José Luis (København, 2003)[More information][Less information]
Abstract: In the last decade, scholarly interest has been mainly attracted on the nature of knowledge, mechanisms of knowledge production and the transformation of the institutions diffusing knowledge. Most of these studies share the underlying hypotheses that management knowledge "travels", as a package, from producers to passive receivers. A few exploratory attempts have envisioned an alternative perspective based on the idea of "knowledge consumption". Managers are active receivers of institutionalized knowledge in the course of enacting their organizational roles. Building on this last perspective, first we try to outline the process of knowledge consumption. We describe how sources of knowledge are selected, knowledge is acquired and consumed by assuming that managers are active consumer of management knowledge. Then, we construct the process linking the flows of management knowledge in organizations and the flows of action performed by managers. We sustain that knowledge has to be first dis-embed from the context and artifacts it is in to be translated into a portable form—a standardized artifact, a logic of action, etc. Then, specific courses of action are required to re-embed knowledge in new artifacts, practices or routines (e.g. a budgetary procedure, an organizational process, etc.). So, to re-embed knowledge in new contexts, managers have to mobilize resources and build consensus on the specific courses of action. By assuming this process, two consequences are derived: first, the dis-embedding/re-embedding process is not the outcome of conscious planning; it goes back and forth, allows for controversial or "hypocritical" moves, at least in the short run. In any case, once management knowledge is translated into logics of action, managers have to use their imaginative power to share these logics to mobilize constituencies on priorities and undertake specific courses of actions This supports the idea that the managerial role is intrinsically political. Second, management education cannot simply deals with managerial recipes and rules of thumb. It is increasingly asked for providing non-technical knowledge to help managers exert their political role. To mobilize constituencies and create consensus on controversial decisions, technicalities could be less relevant than business-unrelated knowledge. We hold that has a relevant impact on both the institutional settings and the content of management education. The paper is structured in three parts. First, a framework is proposed to describe management knowledge consumption. Second, we outline the process linking consumed knowledge with actual managerial action. Third, the impact of this perspective on the structure of the institutions diffusing knowledge and on the idea of what is needed to make managerial decisions are explored. URI: http://hdl.handle.net/10398/6671 Files in this item: 1
dokument 14.pdf (287.5Kb) -
Mezias, Stephen; Strandgaard Pedersen, Jesper; Svejenova, Silviya; Mazza, Carmelo (, 2008)[More information][Less information]
Abstract: This study seeks to untangle the impact of film festivals on the conception and action of industry actors. This study puts forward the argument that film festivals, seen as instances of tournament rituals and field configuring events, play a role in bridging art and commerce. It examines three instances of a particular tournament ritual, that of the three leading European premier film festivals, namely the Cannes Film Festival, the Berlin Film Festival, and the Venice International Film Festival, to untangle their role as mediators between art and commerce and their impact on the artistic classification system of the cinema field. For the purpose, it uses admissions data from 36 European countries for the period of 1996 to 2005. It examines the impact of festival participation and awards on admissions, and further artistic recognition at award ceremonies in the US. Based on the results of our study we argue that, similarly to the classification of art forms, there is a status ordering of tournament rituals (i.e. film festivals) with regard to their ability to act as a nexus of dichotomous categories for a particular cultural form (i.e. art and commerce in the case of film). URI: http://hdl.handle.net/10398/7781 Files in this item: 1
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towards optimal distinctivenes in European film makingAlvarez, José Luis; Mazza, Carmelo; Strandgaard Pedersen, Jesper; Svejenova, Silviya (København, 2003)[More information][Less information]
Abstract: Abstract. This paper advances a micro theory of creative action by examining how distinctive artists shield their idiosyncratic styles from the isomorphic pressures of a field. It draws on the cases of three internationally recognized, distinctive European film directors - Pedro Almodóvar (Spain), Nanni Moretti (Italy) and Lars von Trier (Denmark). We argue that in a cinema field, artistic pressures for distinctiveness along with business pressures for profits drive filmmakers’ quest for optimal distinctiveness. This quest seeks both exclusive, unique style and inclusive, audience-appealing artwork with legitimacy in the field. Our theory of creative action for optimal distinctiveness suggests that film directors increase their control by personally consolidating artistic and production roles, by forming close partnership with committed producer, and by establishing own production company. Ironically, to escape the iron cage of local cinema fields, film directors increasingly control the coupling of art and business, hence forging their own "iron cage". "[T]he unusual and paradoxical place that Pedro [Almodóvar] has been able to find: we are within the industry but we preserve our peculiarity." (Agustín Almodóvar, 2001). Optimal distinctiveness: "social identity is viewed as reconciliation of opposing needs for assimilation and differentiation from others." (Marilynn Brewer, 1991). URI: http://hdl.handle.net/10398/6672 Files in this item: 1
papers in oraganization, no.49 2003.pdf (302.8Kb) -
Strandgaard Pedersen, Jesper; Mazza, Carmelo (, 2008)[More information][Less information]
Abstract: Film festivals are claimed to be leading events establishing the reputation of directors and producers in the film industry and they constitute a well-established field in itself. Film festivals have become a widespread phenomenon over the last fifty years with specialization as an emerging feature, profiling festivals on the basis of the participating genre and quality of movies, directors and actors. Such a structured field constitutes an interesting domain to analyze challenges and advantages of late adopters in an institutionalized field. This paper is concerned with the strategic responses and efforts made by two late adopters film festivals – Copenhagen international film festival (CIFF), launched in 2003, and Festa del Cinema di Roma (FCR) launched in 2006 – in order to establish themselves as international film festivals within the international film festival field. The comparative study of two film festivals is based on qualitative data and thrives on business ethnographical methods. The paper investigates how the two festivals have positioned themselves and how they face the inclusion-exclusion dilemma (Brewer, 1991; Alvarez et al., 2005) establishing themselves within the institutionalised field of international film festivals. Combining the classical work by Tolbert and Zucker (1983) on early and late adopters in the diffusion of management ideas and practices with Suchman’s (1995) forms of legitimacy and Lawrence and Suddaby’s (2006) notion of institutional work, we analyze how imitation and innovation pressures have shaped the frames used to position and legitimate the film festivals and their relation with the industry. URI: http://hdl.handle.net/10398/7782 Files in this item: 1
Now showing items 1-4 of 4