A core/periphery perspective on individual creative performance: Social networks and cinematic achievements in the Hollywood film industry

Organization Science

Volumn 19, Issue 6, 2008, Pages 824-844

  Cattani, Gino ^a   Ferriani, Simone ^b  

^a NEW YORK UNIVERSITY   (United States)

^b UNIVERSITY OF BOLOGNA   (Italy)

Author keywords

Core periphery; Creative performance; Film industry; Social networks

Indexed keywords

EID: 61349127838     PISSN: 10477039     EISSN: 15265455     Source Type: Journal    
DOI: 10.1287/orsc.1070.0350     Document Type: Article

References (107)

1. Allison, P. D. 2005. Fixed Effects Regression Methods for Longitudinal Data. SAS Institute, Cary, NC.
2. Álvarez, J. L., S. Svejenova. 2001. Symbiotic careers in movie making: Pedro and Agustín Almodóvar. M. A. Peiperl, M. B. Arthur, N. Anand, eds. Career Creativity: Explorations in the Remaking of Work. Oxford University Press, Oxford, UK.
3. Amabile, T. M. 1982. Social psychology of creativity: A consensual assessment technique. J. Personality Soc. Psych. 43 997-1013.
4. Amabile, T. M. 1988. A model of creativity and innovation in organizations. B. M. Staw, L. L. Cummings, eds. Research in Organizational Behavior. JAI Press, Greenwich, CT, 123-167.
5. Amabile, T. M. 1996. Creativity in Context. Westview Press, Boulder, CO.
6. Baer, J. 1997. Gender differences in the effects of anticipated evaluation on creativity. Creativity Res. J. 10 25-31.
7. Balio, T. 1985. Stars in business: The founding of United Artists. T. Balio, ed. The American Film Industry. The University of Wisconsin Press, Madison, 153-172.
8. Barabási, A. 2002. Linked: The New Science of Networks. Perseus, Cambridge, MA.
9. Barabási, A. 2005. Network theory-The emergence of the creative enterprise. Science 308 639-641.
10. Barron, F. 1955. The disposition toward originality. J. Abnormal Soc. Psych. 51 478-485.
11. Barsky, N. P. 1999. A core/periphery structure in a corporate budgeting process. Connections 22(2) 22-29.
12. Bechky, B. A. 2006. Gaffers, gofers, and grips: Role-based coordination in temporary organizations. Organ. Sci. 17(1) 3-21.
13. Becker, H. S. 1982. Art Worlds. University of California Press, Berkeley.
14. Biskind, P. 2004. Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Simon & Schuster, New York.
15. Blau, P. 1964. Exchange and Power in Social Life. Wiley, New York.
16. Borgatti, S. P. 2005. The state of organizational social network research today. Working paper. Department of Organization Studies, Boston College, Boston.
17. Borgatti, S. P., R. Cross. 2003. A relational view of information seeking and learning in social networks. Management Sci. 49(4) 432-455.
18. Borgatti, S. P., M. G. Everett. 1997. Network analysis of 2-mode data. Soc. Networks 19 243-269.
19. Borgatti, S. P., M. G. Everett. 1999. Models of core/periphery structures. Soc. Networks 21 375-395.
20. Borgatti, S. P., M. G. Everett, L. C. Freeman. 2002. Ucinet 6 for Windows. Analytic Technologies, Harvard.
21. Boyd, J. P., W. J. Fitzgerald, R. J. Beck. 2004. Computing core/periphery structures and permutation tests for social relations data. Working Paper 16, Institute for Mathematical Behavioral Sciences.
22. Brass, D. J. 1995. Creativity: It's all in your social network. C. M. Ford, D. A. Gioia, eds. Creative Action in Organizations. Sage, Thousands Oaks, CA, 94-99.
23. Brass, D. J., M. E. Burkhardt. 1993. Potential power and power use: An investigation of structure and behavior. Acad. Management J. 36 441-470.
24. Burt, R. 1992. Structural Holes: The Social Structure of Competition. Harvard University Press, Cambridge, MA.
25. Burt, R. 2004. Structural holes and good ideas. Amer. J. Soc. 110 349-399.
26. Caird, S. 1994. How do award winners come up with innovative ideas? Creative Innovation Management 3(1) 3-10.
27. Cattani, G., S. Ferriani, G. Negro, F. Perretti. The structure of consensus: Network ties, legitimation and exit rates of U.S. feature film producer organizations. Admin. Sci. Quart. Forthcoming.
28. Caves, R. E. 2000. Creative Industries: Contracts Between Art and Commerce. Harvard University Press, Cambridge, MA.
29. Choi, J. N. 2004. Individual and contextual predictors of creative performance: The mediating role of psychological processes. Creativity Res. J. 16(2-3) 187-199.
30. Collins, R. 1998. The Sociology of Philosophies: A Global Theory of Intellectual Change. Harvard University Press, Cambridge, MA.
31. Collins, R. 2004. Collaborative circles: Friendship dynamics and creative work. Soc. Forces 83(1) 433-435.
32. Crane, D. 1972. The Invisible College. University Chicago Press, Chicago.
33. Cross, R., J. Cummings. 2004. Tie and network correlates of individual performance in knowledge intensive work. Acad. Management J. 47(6) 928-937.
34. Csikszentmihályi, M. 1988. Society, culture, and person: A systems view of creativity. R. J. Sternberg, ed. The Nature of Creativity. Cambridge University Press, Cambridge, MA, 325-339.
35. Csikszentmihályi, M. 1990. Flow: The Psychology of Optimal Experience. Harper & Row, New York.
36. Csikszentmihályi, M. 1996. Creativity, Flow and the Psychology of Discovery and Invention. Harper Collings, New York.
37. Csikszentmihályi, M. 1999. Implications for a systems perspective for the study of creativity. R. J. Sternberg, ed. Handbook of Creativity. Cambridge University Press, New York, 313-335.
38. Csikszentmihályi, M., K. Sawyer. 1995. Creative insight: The social dimension of a solitary moment. R. J. Sternberg, J. E. Davidson, eds. The Nature of Insight. MIT Press, Cambridge, MA, 329-364.
39. Cummings, J., R. Cross. 2003. Structural properties of work groups and their consequences for performance. Soc. Networks 25(3) 197-210.
40. Davis, G. F., H. R. Greve. 1997. Corporate elite networks and governance changes in the 1980s. Amer. J. Soc. 103 1-37.
41. DeFillippi, R. J., M. B. Arthur. 1998. Paradox in project-based enterprise: The case of film making. California Management Rev. 40(2) 125-139.
42. Drazin, R., M. A. Glynn, R. K. Kazanjian. 1999. Multilevel theorizing about creativity in organizations: A sensemaking perspective. Acad. Management R. 24(2) 286-307.
43. Faulkner, R. R. 1983. Music on Demand. Transaction Books, Rutgers,
44. NJ.
45. Faulkner, R. R., A. B. Anderson. 1987. Short-term projects and emergent careers: Evidence from Hollywood. Amer. J. Soc. 92 879-909.
46. Feist, G. J., F. X. Barron. 2003. Predicting creativity from early to late adulthood: Intellect, potential, and person. J. Res. Person. 37 62-88.
47. Ferriani, S., R. Corrado, C. Boschetti. 2005. Organizational learning under organizational impermanence: Collaborative ties in film project firms. J. Management Governance 9 257-285.
48. Ford, C. 1996. A theory of individual creative action in multiple social domains. Acad. Management Rev. 21 1112-1142.
49. Galton, F. 1869. Hereditary. Genius: An Inquiry into Its Laws and Consequences. Macmillan, London.
50. Glynn, M. A. 1996. Innovative genius: A framework for relating individual and organizational intelligences to innovation. Acad. Management Rev. 21 1081-1111.
51. Goble, A. 2003. The Complete Index to World Film Since 1895. Valan Publishing, East Sussex.
52. Goldman, W. 1983. Adventures in the Screen Trade. Scribner, New York.
53. Granovetter, M. 1973. The strength of weak ties. Amer. J. Soc. 78(6) 1360-1380.
54. Hargadon, A. B. 2005. Bridging old worlds and building new ones: Towards a microsociology of creativity. L. Thompson, H.-S. Choi, eds. Creativity and Innovation in Organizational Teams. Lawrence Erlbaum Associates, Inc.
55. Hargadon, A. B., B. A. Bechky. 2006. When collections of creatives become creative collectives: A field study of problem solving at work. Organ. Sci. 17(4) 484-500.
56. Higgins, M., R. Gulati. 2003. Getting off to a good start: The effects of upper echelon affiliations on interorganizational endorsements. Organ. Sci. 14(3) 244-263.
57. Holbrook, M. B. 1999. Popular appeal versus expert judgments of motion pictures. J. Consumer Res. 26 144-155.
58. Hsu, G. 2006. Jacks of all trades and masters of none: Audiences' reactions to spanning genres in feature film production. Admin. Sci. Quart. 51 420-450.
59. Huckman, R. S., G. P. Pisano. 2006. The firm specificity of individual performance: Evidence from cardiac surgery. Management Sci. 52(4) 473-488.
60. Idson, T L., L. H. Kahane. 2000. Team effects on compensation: An application to salary determination in the National Hockey League. Econom. Inquiry 38 345-357.
61. John-Steiner, V. 2000. Creative Collaboration. Oxford University Press, Oxford, UK.
62. Jones, C. 1996. Careers in project-networks: The case of film industry. M. B. Arthur, D. M. Russeau, eds. The Boundaryless Career. Oxford University Press, New York.
63. Jones, C. 2002. Signaling expertise: How signals shape careers in creative industries. M. A. Peiperl, M. B. Arthur, N. Anand, eds. Career Creativity: Explorations in the Remaking of Work. Oxford University Press, Oxford, UK.
64. Jones, C., W. Hesterly, S. P. Borgatti. 1997. A general theory of network governance: Exchange conditions and social mechanisms. Acad. Management Rev. 22 911-945.
65. Kavolis, V. 1966. Community dynamics and artistic creativity. Amer. Soc. Rev. 31 208-217.
66. Klein, K. J., H. Tosi, A. A. Cannella, Jr. 1999. Multilevel theory building: Benefits, barriers, and new developments. Acad. Management Rev. 2 243-248.
67. Knoke, D., F. U. Pappi, J. Broadbent, Y. Tsujinala. 1996. Comparing Policy Networks: Labor Politics in the U.S., Germany, and Japan. Cambridge University Press, Cambridge, MA.
68. Krebs, V., J. Holley. 2002. Building smart communities through network weaving. http://www.orgnet.com/buildingnetworks.pdf.
69. Kremer, M. 1993. The o-ring theory of economic development. Quart. J. Econom. 108 551-575.
70. Latour, B. 1987. Science In Action: How to Follow Scientists and Engineers Through Society. Harvard University Press, Cambridge, MA.
71. Liang, K. Y., S. L. Zeger. 1986. Longitudinal data-analysis using generalized linear-models. Biometrika 73(1) 13-22.
72. Merton, R. 1973. The Sociology of Science: Theoretical and Empirical Investigations. University of Chicago Press. Chicago.
73. Mintz, B., M. Schwartz. 1981. Interlocking directorates and interest group formation. Amer. Soc. Rev. 46 851-868.
74. Montuori, A., R. Purser. 1996. Social Creativity: Prospects and Possibilities, Vol. 1. Hampton Press, Cresskill, NJ.
75. Moreno, J. L. 1940. Mental catharsis and the psychodrama. Sociometry 3 209-243.
76. Mumford, M. D., S. B. Gustafson. 1988. Creativity syndrome: Integration, application and innovation. Psych. Bull. 103 27-43.
77. Newman, M. E. J. 2001. Who is the best connected scientist? A study of scientific co-authorship networks. Physics Rev. E64 016132.
78. Newman, M. E. J., D. J. Watts, S. H. Strogatz. 2002. Random graph models of social networks. Proc. National Acad. Sci. 99(1) 2566-2572.
79. Northway, M. L., M. McCallum Rooks. 1955. Creativity and sociometric status in children. Sociometry 18 194-201.
80. Obstfeld, D. 2005. Social networks, the tertius iungens orientation, and involvement in innovation. Admin. Sci. Quart. 50(1) 100-130.
81. Oldham, G. R., A. Cummings. 1996. Employee creativity: Personal and contextual factors at work. Acad. Management J. 39(2) 607-634.
82. O'Neil, T 2003. Movie Awards, revised ed. Perigee Trade.
83. Perry-Smith, J. E. 2006. Social yet creative: The role of social relationships in facilitating individual creativity. Acad. Management J. 49(1) 85-101.
84. Perry-Smith, J. E., C. E. Shalley. 2003. The social side of creativity: A static and dynamic social network perspective. Acad. Management Rev. 28(1) 89-106.
85. Polanyi, M. 1963. The potential theory of absorption: Authority in science has its uses and its dangers. Science 141 1010-1013.
86. Runco, M. A. 2004. Creativity. Annual Rev. Psych. 55 657-687.
87. Schilling, M. A. 2005. A "small-world" network model of cognitive insight. Creativity Res. J. (2-3) 131-154.
88. Shalley, C. E. 1995. Effects of co-action, expected evaluation, and goal setting on creativity and productivity. Acad. Management J. 38 483-503.
89. Simonton, D. K. 1984a. Artistic creativity and interpersonal relationships across and within generations. J. Personality Soc. Psych. 46 1273-1286.
90. Simonton, D. K. 1984b. Genius, Creativity and Leadership: Historiometric Inquiries. Harvard University Press, Cambridge, MA.
91. Simonton, D. K. 2000. Creative development as acquired expertise: Theoretical issues and an empirical test. Developmental Rev. 20 283-318.
92. Simonton, D. K. 2004a. Creativity in Science: Chance, Logic, Genius, and Zeitgeist. Cambridge University Press, New York.
93. Simonton, D. K. 2004b. Film awards as indicators of cinematic creativity and achievement: A quantitative comparison of the Oscars and six alternatives. Creativity Res. J. 16 163-172.
94. Simonton, D. K. 2004c. Group artistic creativity: Creative clusters and cinematic success in 1,327 feature films. J. Appl. Soc. Psych. 34(7) 1494-1520.
95. Snijders, T. A. B. 2001. The statistical evaluation of social network dynamics. M. E. Sobel, M. P. Becker, eds. Sociological Methodology 2001. Basil Blackwell, Boston and London, 361-395.
96. Snijders, T. A. B., C. E. G. Steglich, M. Schweinberger. 2006. Modeling the co-evolution of networks and behavior. K. van Montfort, H. Oud, A. Satorra, eds. Longitudinal Models in the Behavioral and Related Sciences. Lawrence Erlbaum. Inc., Mahwah, NJ.
97. Sorensen, O., D. Waguespack. 2006. Social networks and exchange: Self-confirming dynamics in Hollywood. Admin. Sci. Quart. 51 560-589.
98. Staiger, J. 1985. The package-unit system: Unit management after 1955. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. Columbia University Press, New York, 330-338.
99. Stein, M. 1974. Stimulating Creativity, Vol. 1. Academic Press, New York.
100. Sternberg, R. J. 1985. Beyond IQ: A Triarchic Theory of Intelligence. Cambridge University Press, New York.
101. Stuart, T. E., H. Hoang, R. Hybels. 1999. Interorganizational endorsements and the performance of entrepreneurial ventures. Admin. Sci. Quart. 44 315-349.
102. Tardif, T. Z., R. J. Sternberg. 1988. What do we know about creativity? R. J. Sternberg, ed. The Nature of Creativity. Contemporary Psychological Perspectives. Cambridge University Press, Cambridge, MA, 429-440.
103. Uzzi, B., J. Spiro. 2005. Collaboration and creativity: The small world problem. Amer. J. Soc. 111 447-504.
104. Wang, J. 2006. Creativity and project value in the film industry. (June 2007). Financial Management Assoc. Eur. Conf., Barcelona.
105. White, H. C., C. A. White. 1965/1993. Canvases and Careers. Institutional Change in the French Painting World. Wiley, New York.
106. Woodman, R. W., J. E. Sawyer, R. W. Griffin. 1993. Toward a theory of organizational creativity. Acad. Management Rev. 18(2) 293-321.
107. Yoo, Y., R. J. Boland, Jr., K. Lyytinen. 2006. From organization design to organization designing. Organ. Sci. 17(2) 215-229.