Browsing Creative Encounters (ICM/IKL) by Title
Previous Page
Now showing items 46-51 of 51
-
analysed through costume and movement in Crouching Tiger, Hidden DragonSkov, Lise (, 2008)[More information][Less information]
Abstract: In this essay, I wish to examine the relation between body, movement and costume in Chinese martial arts film. I propose to see fight choreography as dance, and I rush to say that this is a totally unoriginal claim on my part; practically any book or commentary on the martial arts genre will use the word dance, either literally or evocatively. There are good reasons for this, as I will discuss below. URI: http://hdl.handle.net/10398/7778 Files in this item: 1
-
Singapore as a City for the ArtsOoi, Can-Seng (, 2009)[More information][Less information]
Abstract: Can the arts and cultural prosper under a less than democratic political regime? This paper looks at the soft authoritarian Singaporean government and the making of Singapore into a “City for the Arts”. Many scholars advocate that a culturally vibrant and creative city must also celebrate diversity, tolerance and experimentation. This implies that a democratic space is needed for creative energies to flow. Singapore is not known for its democracy. But Singapore has become relatively successful in being the cultural hub in the region. A more liberal approach to diversity and criticism of the authorities can now be observed but there are still many strong-handed social and political controls in the city-state. This paper shows that the Singapore authorities weigh the economic, political and social costs while they liberalize the environment to promote Singapore as a City for the Arts. URI: http://hdl.handle.net/10398/7916 Files in this item: 1
-
[More information][Less information]
Abstract: This working paper – written for inclusion as a chapter on Japanese society, to be published in Chinese by the Beijing University of Foreign Studies later in 2011 – looks at popular culture as a form of cultural production. It argues for the need to study popular cultural forms like advertisements, ceramics, fashion magazines and folk art as both products and as processes of design, manufacture, distribution, appreciation and use, which must all be taken into account. Precisely because popular cultural forms are both cultural products and commodities, they reveal the complementary nature of the two categories of culture and the economy. The paper outlines and analyses the different ways in which social, cultural, symbolic and economic capital are converted by those participating in advertising, ceramic, fashion magazine and folk art worlds, and suggests that popular culture may best be seen as a name economy. URI: http://hdl.handle.net/10398/8252 Files in this item: 1
-
Moeran, Brian (Frederiksberg, 2011)[More information][Less information]
Abstract: This working paper is a case study about the development of a faience product line in Royal Copenhagen and illustrates several aspects of how, at what stages of development, and by whom, cultural products in general are evaluated. Three theoretical issues emerge. One concerns the constraints imposed upon design and production by the use of materials and, to a lesser extent, technology. Another argues that product development has to take place within a particular brand and genre – in this case, those of Royal Copenhagen. A third reveals the way in which the design and manufacture of a particular cultural product had to be negotiated within a particular organizational world embracing both management and workers, with differentiated skills. These issues lead to a more general discussion of craftsmanship and storytelling. URI: http://hdl.handle.net/10398/8338 Files in this item: 1
62 - BM Royal Copenhagen.pdf (341.7Kb) -
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
-
An Integrative ReviewChristensen, Bo T.; Jønsson, Thomas (Frederiksberg, 2011)[More information][Less information]
Abstract: It seems to be an established fact in the organizational psychological literature that participation in decision making leads to creativity and innovation in work groups and organizations. A quite extensive amount of research has claimed that the link exists, although only a somewhat smaller amount of research has established that there is a link between the two constructs of participation in decision making and creativity. But although this link has been clearly documented theories with clearly stated causal explanations of why participation in decision making (pdm) would lead to creativity and innovation are extremely rare. The literature has pointed to a large number of mediating variables and possible effects of pdm that could possibly explain the link to creativity, but explicit causal theories and experimental evidence of the validity of such theories remain relatively few. Suggested mediating factors include such different models as enhanced intrinsic motivation (Amabile, 2001; Conti & Amabile, 1999), reduction in resistance to change (De Dreu & West, 2001), pooling of unshared knowledge (Latham, Winters, & Locke, 1994) and better utilization of individual differences in cognitive style (Kirton, 1989), and improved work environment for creativity (e.g., Isaksen, Lauer, Ekvall, & Britz, 2001). URI: http://hdl.handle.net/10398/8256 Files in this item: 1
Previous Page
Now showing items 46-51 of 51