TY - UNPB
T1 - Shielding Idiosyncrasy from Isomorphic Pressures
T2 - Towards Optimal Distinctiveness in European Filmmaking
AU - Alvarez, José Luis
AU - Mazza, Carmelo
AU - Strandgaard Pedersen, Jesper
AU - Svejenova, Silviya
PY - 2003
Y1 - 2003
N2 - Abstract. This paper advances a microtheory of creative action by examining howdistinctive artists shield their idiosyncraticstyles from the isomorphic pressures of afield. It draws on the cases of threeinternationally recognized, distinctiveEuropean film directors - Pedro Almodóvar(Spain), Nanni Moretti (Italy) and Lars vonTrier (Denmark). We argue that in a cinemafield, artistic pressures for distinctivenessalong with business pressures for profitsdrive filmmakers' quest for optimaldistinctiveness. This quest seeks bothexclusive, unique style and inclusive,audience-appealing artwork with legitimacyin the field. Our theory of creative actionfor optimal distinctiveness suggests thatfilm directors increase their control bypersonally consolidating artistic andproduction roles, by forming closepartnership with committed producer, andby establishing own production company.Ironically, to escape the iron cage of localcinema fields, film directors increasinglycontrol the coupling of art and business,hence forging their own `iron cage'.`[T]he unusual and paradoxical place thatPedro [Almodóvar] has been able to find:we are within the industry but we preserveour peculiarity.' (Agustín Almodóvar,2001).Optimal distinctiveness: `social identity isviewed as reconciliation of opposing needsfor assimilation and differentiation fromothers.' (Marilynn Brewer, 1991).
AB - Abstract. This paper advances a microtheory of creative action by examining howdistinctive artists shield their idiosyncraticstyles from the isomorphic pressures of afield. It draws on the cases of threeinternationally recognized, distinctiveEuropean film directors - Pedro Almodóvar(Spain), Nanni Moretti (Italy) and Lars vonTrier (Denmark). We argue that in a cinemafield, artistic pressures for distinctivenessalong with business pressures for profitsdrive filmmakers' quest for optimaldistinctiveness. This quest seeks bothexclusive, unique style and inclusive,audience-appealing artwork with legitimacyin the field. Our theory of creative actionfor optimal distinctiveness suggests thatfilm directors increase their control bypersonally consolidating artistic andproduction roles, by forming closepartnership with committed producer, andby establishing own production company.Ironically, to escape the iron cage of localcinema fields, film directors increasinglycontrol the coupling of art and business,hence forging their own `iron cage'.`[T]he unusual and paradoxical place thatPedro [Almodóvar] has been able to find:we are within the industry but we preserveour peculiarity.' (Agustín Almodóvar,2001).Optimal distinctiveness: `social identity isviewed as reconciliation of opposing needsfor assimilation and differentiation fromothers.' (Marilynn Brewer, 1991).
KW - filmbranche
KW - europa
KW - kreativitet
KW - individualisme
KW - karriere
M3 - Working paper
BT - Shielding Idiosyncrasy from Isomorphic Pressures
CY - København
ER -